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DATI5 IMII5

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THE LETTERS OF MOZART
AND HIS FAMILY

MOZART (1782)
From tin unfinished portrait by Josef
(Mo/.art Museum, Kalzhurg)

THE LETTERS OF MOZART

HIS FAMILY

Chronologically Arranged, Translated and Edited
with an Introduction, Notes and Indices by

EMILY ANDERSON

With extracts from the letters of Comtanze Mozart
to Johann Anton Andre" translated and edited by

C. B. OLDMAN

VOLUME III

MACMILLAN AND CO., LIMITED

ST. MARTIN'S STREET, LONDON

'938

v.3

PRINTED IN GKKAT BRITAIN
BY R. & R. CLARK, LIMITED, EDINBURGH

19, '21

LIST OF LETTERS

This is a list of all the known letters of Mozart and his family written
between the years 1762 and 1791. It contains, therefore, some letters
(unnumbered) which owing to their slight interest have not been included
in the present edition.

Letters hitherto unpublished are marked *

Letters hitherto incompletely published are marked **

(Owing to exigencies of space, in most cases extracts only have been
given from Leopold Mozart's letters. But considerable additions have been
made to the portions published in the standard German edition of Professor
Ludwig Schiedermair : and copies of the complete versions are in the
possession of the present editor.)

VOLUME III

1781

NO. OF

LETTER SENDER AND RECIPIENT

393. Mozart to his father

394. Mozart to his father

395. Mozart to his father

396. Mozart to his father

397. Mozart to his father

398. Mozart to his father

399. Mozart to his father

400. Mozart to his father

401. Mozart to his father

402. Mozart to his father

403. Mozart to his father

404. Mozart to his father

405. /Mozart to his father

406. Mozart to his father

407. Mozart to his father

408. Mozart to his father

409. Mozart to his father

410. Mozart to his father

41 1. Mozart to his father

412. Mozart to his father

413. Mozart to his father

414. Mozart to his father

DATE PAGE

Vienna, March I7th 1059
Vienna, March i8th-24th 1061
Vienna, March 24th-28th 1063

Vienna, April 4th 1070

Vienna, April 8th 1072

Vienna, April nth 1073

Vienna, April i8th 1077

Vienna, April 28th 1078

Vienna, May 9th 1081

Vienna, May I2th 1084

Vienna, May I2th 1086

Vienna, May i6th 1088

Vienna, May igth 1090
Vienna, May 26th * 1093

Vienna, between May 1096
26th and June 2nd

Vienna, June 2nd 1098

Vienna, June 9th 1 100

Vienna, June I3th 1104

Vienna, June i6th 1106

Vienna, June 2Oth mo

Vienna, June 27th mi

Vienna, July 4th 1114

LIST OF LETTERS
1781

LETTER

SENDER AND RECIPIENT

DATE

PAGE

415.

Mozart to his sister

Vienna,

July 4th

1116

4l6.

Mozart to his father

Reisenberg, near Vienna.

1118

July 1 3th

417.

Mozart to his father

Vienna,

July 25th

1119

418.

Mozart to his father

Vienna,

August ist

1122

419-

Mozart to his father

Vienna,

August 8th

1125

**420.

Leopold Mozart to J. G. I.

Salzburg, August loth

1129

Breitkopf, Leipzig

421.

Mozart to his father

Vienna,

August 22nd

1130

422.

422a.

Mozart to his father with a\
postscript to his sister /

Vienna,

August 29th

"33

423-

Mozart to his father

Vienna,

September 5th

1136

424.

Mozart to his father

Vienna,

September I2th

1138

425.

Mozart to his sister with a post- \
script to his father /

Vienna,

September I9th

1141

426.

Mozart to his father

Vienna,

September 26th

H43

427.

Mozart to his father

Vienna,

October 6th

1147

428.

Mozart to his father

Vienna,

October I3th

1150

429.

Mozart to his cousin, Maria

Vienna,

October 2ist

1152

Anna Thekla

**43<>.

Mozart to his father

Vienna,

October 24th

1154

431-

Mozart to his father

Vienna,

November 3rd

1155

432.

Mozart to his father

Vienna,

November loth

1157

433-

Mozart to his father

Vienna,

November I7th

1159

434-

Mozart to his father

Vienna,

November 24th

1161

435-

Mozart to his father

Vienna,

December 5th

1163

436.

Mozart to his father \
Mozart to his sister /

Vienna,

December I5th

1165

437-

Mozart to his sister

Vienna,

December I5th-

1170

22nd

438.

Mozart to his father

Vienna,

December 22nd-

1172

26th

1782

439-

Mozart to his father

Vienna,

January 9th

1178

440.

Mozart to his father

Vienna,

January I2th

1179

441.

Mozart to his father

Vienna,

January i6th

1180

442.

Mozart to his father

Vienna,

January 23rd

1183

443-

Mozart to his father

Vienna,

January 3oth

1185

444.

Mozart to his sister

Vienna,

February I3th

1187

445-

Mozart to his father

Vienna,

March 23rd

1189

LIST OF LETTERS

NO. OF
LBTTKR

446.
447-

447^.

448.
**449-

450.

451.
451 a.

452.
453-

*454-
*454a.

455-
456.
457-

458.

459-
460,

461,
462.

463-
464.

465.
466.

467.
468.

469.
470.
471,
472.
473-
474-

1782

SKNDER AND RECIPIENT

Mozart to his father

Mozart to his sister with an
enclosure from Constanze
Weber

Mozart to Constanze Weber

Leopold Mozart to J. G. I.
Breitkopf, Leipzig

Mozart to his father

Mozart to his father with a
continuation by Constanze
Weber

Mozart to his father

Mozart to his sinter and Con-
tanze Weber to Nannerl
Mozart

Mozart to his father
Mozart to his father

Mozart to Baroness von

Waldstadten
Mozart to his father
Mozart to his father

Leopold Mozart to Baroness von
Waldstadten, Vienna

Mozart to his father
Mozart to his father
Mozart to his father

Leopold Mozart to Baroness von
Waldstadten, Vienna

Mozart to his father

Mozart to Baroness von
Waldstadten

Leopold Mozart to J, G. I.
Breitkopf, Leipzig

Mozart to his father
Mozart to his father
Mozart to his father
Mozart to his father
Mozart to his father
Mozart to his father

vii

Vienna, April loth

1191

Vienna, April 2oth

1193

Vienna, April 29th
Salzburg, April 29th

1196
1197

Vienna, May 8th

1198

Vienna, May 25th

1201

Vienna, May 29th
Vienna, July 2Oth

1202
1204

Vienna, July 24th 1206

Vienna, July 27th 1207

Vienna, July 3 ist 1209

Vienna, August [ ? 2nd] 1210

Vienna, August 7th 1211

Vienna, August i7th 1213

Salzburg, August 23rd 1216

Vienna, August 24th 1218

Vienna, August 3ist 1219

Vienna, September nth 1221
Salzburg, September I3th 1223

Vienna, September 2$th 1225

Vienna, September 28th $227

Vienna, October 2nd 1228

Salzburg, October 4th 1230

Vienna, October 5th 1231

Vienna, October I2th 1233

Vienna, October iQth 1235

Vienna, October 26th 1236

Vienna, November I3th 1237

Vienna, November 20th 1238

LIST OF LETTERS
1782

NO. OF

LETTER

475-
476.

SENDER AND RECIPIENT

Mozart to his father
Mozart to his father

DATS PAftS

Vienna, December 2i$t 1239
Vienna, December 28th 1242

Vienna, January 4th 1243

Vienna, January 8th 1246

Vienna, January 22nd 1247

Vienna, February $th 1249

Vienna, February I5th 1252

Vienna, February *5th 1253

1783

477. Mozart to his father

478. Mozart to his father

479. Mozart to his father

480. Mozart to his father

481. Mozart to his father

482. Mozart to Baroness von

Waldstadten

483. Mozart to his father

484. Mozart to his father

485. Mozart to his father

486. Mozart to his father

487. Mozart to J. G. Sieber, Paris

488. Mozart to his father

489. Mozart to his father

490. Mozart to his father

491. Mozart to his father

492. Mozart to his father

493. Mozart to his father

494. Mozart to his father
*495. Mozart to his father

496. Mozart to his father

497. Constanze Mozart to Nannerl
497a. Mozart and Margarete
497b. Marchand, with a postscript

from Mozart

498. Mozart to his sister

499. Mozart to his father

500. Mozart to his father

501. Mozart to his father

502. Mozart to his father

1784

503. Mozart to his father Vienna, February loth 1291
*504. Mozart to his father Vienna, February 20th 1293

1 First published by the editor in Music and Letters, April, 1937,

viii

Vienna, March I2th

1254

Vienna, March 29th

1256

Vienna, April 3rd

1258

Vienna, April uth

1259

Vienna, April 26th

1261

Vienna, May 3rd

1262

Vienna, May 7th

1263

Vienna, May 2ist

1265

Vienna, June 7th

\ 266

Vienna, June iSth

1269

Vienna, June 2ist

1270

Vienna, July 2nd

1272

Vienna, July 5th

1274

Vienna, July I2th

1276

Vienna, July i9th 1277

Salzburg, July 3ist 1280

Linz, October 3 1 st 1 280

Vienna, December 6th 1282

Vienna, December loth 1286

Vienna, December 24th 1288

LIST OF LETTERS

1784

NO. OF
LETTER SENDER AND RECIPIENT

^•505. Mozart to his father

506. Mozart to his father

507. Leopold Mozart to Sebastian

Winter, Donaueschingen

508. Mozart to his father

509. Leopold Mozart to Sebastian

Winter, Donaueschingen

510. Mozart to his father

511. Mozart to his father

512. Mozart to his father

513. Mozart to his father
**$14. Mozart to his father

515. Mozart to his father
**5i6. Mozart to his sister

517. Mozart to his sister

Leopold Mozart to his daughter,
St. Gilgen

518. Leopold Mozart to his daughter,

St. Gilgen

519. Leopold Mozart to his daughter,

St. Gilgen

Leopold Mozart to his daughter,
St. Gilgen

520. Leopold Mozart to his daughter,

St. Gilgen

*52i. Leopold Mozart to his daughter,
St. Gilgen

Leopold Mozart to his daughter,
St Gilgen

Leopold Mozart to his daughter,
St. Gilgen

DATE PACE

Vienna, March 3rd 1295

Vienna, March 2oth 1297

Salzburg, April 3rd 1301

Vienna, April loth 1302

Salzburg, April 22nd 1303

Vienna, April 24th 1304

Vienna, April 28th 1305

Vienna, May 8th 1306

Vienna, May i$th 1306

Vienna, May 26th 1308

Vienna, June 9th- 1 2th 1311

Vienna, July 2ist 1313

Vienna, August i8th 1314
Salzburg, August 3oth

Salzburg, August 3 1st
Salzburg, September 3rd

Salzburg, September 9th-
loth

Salzburg, September 1316
1 4th

Salzburg, September 1317
1 7th

Salzburg, September 24th
Salzburg, October
Salzburg, November
Salzburg, November I9th 1317

Salzburg, November 1318
[?28th]

Salzburg, December 3rd
Salzburg, December 7th
Salzburg, December loth

LIST OF LETTERS
1784

NO. OF
LETTER SENDER AND RECIPIENT DATE PAGE

Leopold Mozart to his daughter, Salzburg, December I4th
St. Gilgen

Leopold Mozart to his daughter, Salzburg, December i6th
St. Gilgen

1785

Leopold Mozart to his daughter, Salzburg, January 7th
St. Gilgen

Leopold Mozart to his daughter, Salzburg, January I4th
St. Gilgen

Leopold Mozart to his daughter, Salzburg, January iQth-
St. Gilgen 2ist

522. Leopold Mozart to his daughter, Salzburg, January 22nd 1319

St. Gilgen

Leopold Mozart to his daughter, Salzburg, January 25th
St. Gilgen

Leopold Mozart to his daughter, Salzburg, January 27th
St. Gilgen

Leopold Mozart to his daughter, Munich, February 2nd
Salzburg

523. Leopold Mozart to his daughter, Vienna, February I4th- 1320

Salzburg i6th

524. Leopold Mozart to his daughter, Vienna, February 2ist- 1322

Salzburg 22nd

525. Leopold Mozart to his daughter, Vienna, March I2th 1324

Salzburg

Leopold Mozart to his daughter, Vienna, March I9th
Salzburg

526* Mozart to Professor Anton Vienna, March 2ist 1325

Klein, Mannheim

527. Leopold Mozart to his daughter, Vienna, March 25th-26th 1328

Salzburg

Leopold Mozart to his daughter, Vienna, April 2nd
Salzburg

Leopold Mozart to his daughter, Vienna, April 8th
Salzburg

528. Leopold Mozart to his daughter, Vienna, April i6th 1328

Salzburg

Leopold Mozart to his daughter, Linz, April 3Oth
Salzburg

Leopold Mozart to his daughter, Munich, May 5th
Salzburg

Leopold Mozart to his daughter, Salzburg, May 27th
St. Gilgen

LIST OF LETTERS

I78S

NO. OF
LETTER

SENDER AND RECIPIENT

Leopold Mozart to his daughter,
St. Gilgen

529. Mozart to Joseph Haydn,

Eisenstadt

Leopold Mozart to his daughter
and son-in-law, St. Gilgen

Leopold Mozart to his daughter,
St. Gilgen

530. Leopold Mozart to his daughter,

St. Gilgen

Leopold Mozart to his daughter,
St. Gilgen

Leopold Mozart to his son-in-law,
St. Gilgen

Leopold Mozart to his daughter,
St. Gilgen

Leopold Mozart to his daughter
St. Gilgen

531. Leopold Mozart to his daughter,

St. Gilgen

532. Leopold Mozart to his daughter,

St. Gilgen

Leopold Mozart to his daughter,
St. Gilgen

533. Mozart to Franz Anton

Hoffmeister

Leopold Mozart to his daughter,

St. Gilgen
Leopold Mozart to his daughter,

St. Gilgen

DATE PAGE

Salzburg, June 2nd-3rd

Salzburg, June Qth-
loth

Vienna, September ist 1329
Salzburg, September 2nd
Salzburg, September 9th

Salzburg, September I4th-
I5th

Salzburg, September 1330
i 6th- I 7th

Salzburg, September iyth
Salzburg, September 22nd

Salzburg, September 29th-
October ist

Salzburg, October 5th

Salzburg, October 6th-
8th

Salzburg, October I4th-

Salzburg, October 2Oth-
22nd

Salzburg, October 27th-
29th

Salzburg, November 3rd- 1331
4th

Salzburg, November iith 1331

Salzburg, November i6th-
i8th

Salzburg, November i8th-
I9th

Vienna, November 20th 1332

Salzburg, November
24th-26th

Salzburg, November
28th-29th

LIST OF LETTERS
1785

NO. OF

LETTER SENDER AND RECIPIENT DATE PAGE

534. Leopold Mozart to his daughter, Salzburg, December and- 1333

St. Gilgen 3rd

Leopold Mozart to his daughter, Salzburg, December 7th-

St. Gilgen loth

535. Leopold Mozart to his daughter, Salzburg, December 1334

St. Gilgen i6th

Leopold Mozart to his daughter, Salzburg, December

St. Gilgen 22nd-23rd

Leopold Mozart to his daughter, Salzburg, December

St. Gilgen 29th-3Oth

1786

Leopold Mozart to his daughter, Salzburg, January 4th-

St. Gilgen 5th

536. Leopold Mozart to his daughter, Salzburg, January I3th 1334

St. Gilgen

Leopold Mozart to his daughter, Salzburg, January i4th
St. Gilgen

Leopold Mozart to his daughter, Salzburg, January i8th
St. Gilgen

Leopold Mozart to his daughter, Salzburg, January I9th-

St. Gilgen 2ist

Leopold Mozart to his daughter, Salzburg, January 27th
St. Gilgen

Leopold Mozart to his daughter, Salzburer, January 27th-

St. Gilgen 28th

Leopold Mozart to his daughter, Salzburg, February ist-

St. Gilgen 3rd

Leopold Mozart to his daughter, Salzburg, February oth-

St. Gilgen I0th

*537. Leopold Mozart to his daughter, Munich, February

St. Gilgen [? x6th]

Leopold Mozart to his daughter, Munich, February 22nd-

St. Gilgen 23rd

Leopold Mozart to his daughter, Munich, March 1st
St. Gilgen

Leopold Mozart to his daughter, Salzburg, March oth-nth
St. Gilgen

Leopold Mozart to his daughter, Salzburg, March mh-
St. Gilgen •

Leopold Mozart to Artaria and Salzburg, March 2 1st
Co., Vienna

538. Le°P°^aMozart to his daughter, Salzburg, March 23rd- 1335

xii

LIST OF LETTERS
1786

NO. OF
LETTER SENDER AND RECIPIENT

Leopold Mozart to his daughter, Salzburg, March 28th
St. Gilgen

Leopold Mozart to his daughter, Salzburg, March 3ist-
St. Gilgen April ist

Leopold Mozart to his daughter, Salzburg, April I3th
St. Gilgen

Leopold Mozart to his daughter, Salzburg, April i8th-
St. Gilgen 22nd

539. Leopold Mozart to his daughter, Salzburg, April [?25th] 1336

St. Gilgen

Leopold Mozart to his daughter, Salzburg, May $th-6th
St. Gilgen

Leopold Mozart to his daughter, Salzburg, May 1 2th- 1 3th
St. Gilgen

Leopold Mozart to his daughter, Salzburg, May i8th-2Oth

St. Gilgen
Leopold Mozart to his daughter, Salzburg, May 22nd

St. Gilgen
Leopold Mozart to his daughter, Salzburg, May 26th

St. Gilgen
Leopold Mozart to his daughter, Salzburg, June 1 3th- 1 4th

St. Gilgen
Leopold Mozart to his daughter, Salzburg, June i6th

St. Gilgen
Leopold Mozart to his daughter, Salzburg, June zyth

St. Gilgen
Leopold Mozart to his daughter, Salzburg, July 2ist-22nd

St. Gilgen
Leopold Mozart to his daughter, Salzburg, July 28th-2Qth

St. Gilgen
Leopold Mozart to his daughter, Salzburg, August 3rd~4th

St. Gilgen

540. Mozart to Sebastian Winter, Vienna, August 8th 1337

Donaueschingen
Leopold Mozart to his daughter, Salzburg, August I ith-

St. Gilgen I2th

Leopold Mozart to his daughter, Salzburg, August I2th

St. Gilgen
Leopold Mozart to his daughter, Salzburg, August lyth-

St. Gilgen 19*^

Leopold Mozart to his daughter, Salzburg, August 23rd

St. Gilgen
Leopold Mozart to his daughter, Salzburg, August 25th

St. Gilgen
Leopold Mozart to his daughter, Salzburg, September ist-2nd

St. Gilgen

xiii

LIST OF LETTERS

1786

NO. OF
LETTER SENDER AND RECIPIENT

Leopold Mozart to his daughter,

St. Gilgen
Leopold Mozart to his daughter,

St. Gilgen

541. Mozart to Sebastian Winter,

Donaueschingen

Leopold Mozart to his daughter,

St. Gilgen
Leopold Mozart to his daughter,

St. Gilgen

542. Leopold Mozart to his daughter,

St. Gilgen

Leopold Mozart to his daughter,
St. Gilgen

DATE PAGE

Salzburg, September 3rd

Salzburg, September 6th-

9th
Salzburg, September isth-

i6th

Vienna, September soth 1340
Salzburg, October I2th
Salzburg, October iyth
Salzburg, October aoth
Salzburg, October ayth

Salzburg, November 2nd-

3rd
Salzburg, November yth

Salzburg, November 9th

Salzburg, November 1342
I7th-i8th

Salzburg, November 2Oth
Salzburg, November 24th
Salzburg, November 29th

Salzburg, December ist-
2nd

Salzburg, December 8th

Salzburg, December I4th-
i6th

Salzburg, December I9th
Salzburg, December 22nd
Salzburg, December 29th

xiv

NO. OF
LETTER SENDER AND RECIPIENT

LIST OF LETTERS
1787

Leopold Mozart to his daughter, Salzburg, January 4th
St. Gilgen

543. Leopold Mozart to his daughter, Salzburg, January I2th 1343

St. Gilgen

544. Mozart to Baron Gottfried von Prague, January I4th 1343

Jacquin, Vienna

Leopold Mozart to his daughter, Salzburg, January i8th
St. Gilgen

Leopold Mozart to his daughter, Salzburg, January igth
St. Gilgen

Leopold Mozart to his daughter, Salzburg, January 26th
St. Gilgen

Leopold Mozart to his daughter, Salzburg, February 2nd
St. Gilgen

Leopold Mozart to his daughter, Salzburg, February 5th
St. Gilgen

Leopold Mozart to his daughter, Salzburg, February oth
St. Gilgen

Leopold Mozart to his daughter, Munich, February I3th
St. Gilgen

Leopold Mozart to his daughter, Salzburg, February 24th
St. Gilgen

545. Leopold Mozart to his daughter, Salzburg, March ist-2nd 1347

St. Gilgen

Leopold Mozart to his daughter, Salzburg, March 9th-
St. Gilgen nth

Leopold Mozart to his daughter, Salzburg, March I3th
St. Gilgen

Leopold Mozart to his daughter, Salzburg, March i6th
St. Gilgen

546. Mozart to his father Vienna, April 4th 1349

Leopold Mozart to his daughter, Salzburg, May roth-nth
St. Gilgen

547. Mozart to Baron Gottfried von Vienna, May 29th 1352

Jacquin

548. Mozart to his sister Vienna, June i6th 1353

549. Mozart to his sister ' Vienna, August 1st 1353

550. Mozart to Baron Gottfried von Prague, October I5th- 1354

Jacquin, Vienna 25th

551. Mozart to Baron Gottfried von Prague, November 4th- 1357

Jacquin, Vienna 9th

'552. Mozart to his sister Vienna, December I9th 1359

1 First published by Mr. C. B. Oldman in the Musical Times, July 1929.

LIST OF LETTERS

1788

NO. OF
LETTER

SENDER AND RECIPIENT

553-

Mozart to

Michael

Puchberg

554-

Mozart to

Michael

Puchberg

555-

Mozart to

Michael

Puchberg

556.

Mozart to

Michael

Puchberg

557.

Mozart to

his sister

1789

558.

Mozart to

Franz Hofdemel

559-

Mozart to

his wife

560.

Mozart to

his wife

561.

Mozart to

his wife

562.

Mozart to

his wife

563-

Mozart to

his wife

564.

Mozart to

his wife

565.

Mozart to

his wife

566.

Mozart to

his wife

567.

Mozart to

Michael

Puchberg

568.

Mozart to

Michael

Puchberg

569.

Mozart to

Michael

Puchberg

570. Mozart to his wife at Baden

571. Mozart to his wife at Baden

572. Mozart to his wife at Baden

573. Mozart to Michael Puchberg

1790

574. Mozart to Michael Puchberg

575. Mozart to Michael Puchberg

576. Mozart to Michael Puchberg

577-
578.

579-
580.

581.
582.

583.
584.

Mozart to
Mozart to
Mozart to

Mozart to
Francis

Mozart to
Mozart to
Mozart to
Mozart to

Michael Puchberg
Michael Puchberg
Michael Puchberg
the Archduke

Michael Puchberg
Michael Puchberg
Michael Puchberg
his wife

xvi

Vienna, early in June 1360

Vienna, June 1 7th 1361

Vienna, June 27th 1363

Vienna, beginning of July 1364

Vienna, August 2nd 1365

Vienna, end of March 1367

Budwitz, April 8th 1368

Prague, April loth 1368

Dresden, April I3th 1370

Dresden, April i6th 1372

Leipzig, May i6th 1376

Berlin, May I9th 1379

Berlin, May 23rd 1379

Prague, May 3ist 1382

Vienna, July I2th~i4th 1383

Vienna, July I7th 1385

Vienna, second half of 1387
July

Vienna, middle of August 1387

Vienna, end of August 1389

Vienna, Autumn 1390

Vienna, December 29th 1391

Vienna, January 2Oth 1392

Vienna, February 2oth 1393

Vienna, end of March or 1393
beginning of April

Vienna, April 8th 1395

Vienna, April 23rd 1396

Vienna, beginning of May 1 396

Vienna, first half of May 1397

Vienna, May I7th 1398

Vienna, June I2th 1399

Vienna, August I4th 1400

Frankfurt am Main, 1400
September 28th

LIST OF LETTERS

NO. OF
LETTER

1790

SENDER AND RECIPIENT

^^585. Mozart to his wife

586. Mozart to his wife

587. Mozart to his wife

588. Mozart to his wife

589. Mozart to his wife

590. Mozart to his wife

591. Mozart to his wife

1791

592. Mozart to Michael Puchberg

593. Mozart to Michael Puchberg

594. Mozart to the Municipal

Council of Vienna

595. Mozart to Choir-master Stoll

at Baden

596. Mozart to his wife at Baden

597. Mozart to his wife at Baden

598. Mozart to his wife at Baden

599. Mozart to his wife at Baden

600. Mozart to his wife at Baden
**6oi. Mozart to his wife at Baden

602. Mozart to his wife at Baden

603. Mozart to Michael Puchberg

604. Mozart to his wife at Baden

605. Mozart to his wife at Baden

606. Mozart to his wife at Baden

607. Mozart to his wife at Baden

608. Mozart to his wife at Baden

609. Mozart to his wife at Baden

610. Mozart to his wife at Baden

611. Mozart to his wife at Baden

612. Mozart to his wife at Baden

613. Mozart to Choir-master Stoll

at Baden

614. Mozart to his wife at Baden

xvii

DATE

PAGE

Frankfurt am Main,
September 3oth

1402

Frankfurt am Main,
October 3rd

1403

Frankfurt am Main,
October 8th

1405

Frankfurt am Main,
October I5th

1407

Mainz, October I7th

1408

Mannheim, October 23rd

1408

Munich, November 2nd

1409

Vienna, April I3th

I4II

Vienna, between April
2 ist and 27th

I4II

Vienna, beginning of
May

1412

Vienna, beginning of
June

1413

Vienna, June 5th

I4H

Vienna, June 6th

1415

Vienna, June 7th

I4l6

Vienna, June nth

I4l8

Vienna, June I2th

1419

Vienna (undated)

1421

Vienna, June 2 5th

1421

Vienna, June 25th

1424

Vienna, June 3Oth or
July ist

1424

Vienna, July 2nd

1425

Vienna, July 3rd

1426

Vienna, July 4th

1428

Vienna, July 5th

1428

Vienna, July 5th

1429

Vienna, July 6th

1430

Vienna, July 7th

1432

Vienna, July 9th

1433

Vienna, July I2th

1435

Vienna, October 7th-8th 1436
b

LIST OF LETTERS

1791

NO. OF
LETTER

SENDER AND RECIPIENT

615. Mozart to his wife at Baden

6 1 6. Mozart to his wife at Baden

Unnumbered. Sophie Haibel to G. N.
von Nissen, Salzburg

DATE PAGE

Vienna, October [?8th~9th] 1439
Vienna, October 14th 1442

Diakovar, April yth, 1825 1447

*III.

*IV.

*V.

*VI.

*VII.

*VTII.

*IX.

*X.

1800

Constanze Mozart to Johann
Anton Andre", Offenbach am
Main

Constanze Mozart to Johann
Anton Andre, Offenbach am
Main

Constanze Mozart to Johann
Anton Andre", Offenbach am
Main

Constanze Mozart to Johann
Anton Andre, Offenbach am
Main

Constanze Mozart to Johann
Anton Andrd, Offenbach am
Main

Constanze Mozart to Johann
Anton Andr6, Offenbach am

Main

Vienna, February 2ist- 1459
27th

Vienna, March I2th 1467

Vienna, March 29th 1469

Vienna, May sist

1472

Vienna, September loth 1483

Vienna, October 4th 1485

Vienna, October 22nd 1488

Vienna, [? November I2th] 1489

Vienna, November i6th 1491

Vienna, November 26th 1494

1801

*XI. Constanze Mozart to Johann Vienna, January 26th 1501
Anton Andre, Offenbach am
Main

*XII. Constanze Mozart to Johann Vienna [? February 1 8thl 1503
Anton Andr6, Offenbach am
Main

xviii

LIST OF LETTERS
1801

NO. OF

LETTER SENDER AND RECIPIENT DATE PAGE

*XIII. Constanze Mozart to Johann Vienna, March 4th 1504

Anton Andre, Offenbach am
Main

*XIV. Constanze Mozart to Johann Vienna, March 22nd 1505

Anton Andr6, Offenbach am
Main

1825

*XV. Constanze Nissen to Johann Salzburg, October 28th 1507
Anton Andre, Offenbach am

Main

1826

*XVI. Constanze Nissen to Johann Salzburg, January 1st 1512
Anton Andr6, Offenbach am
Main

XIX

LIST OF ABBREVIATIONS

Abert = Hermann Abert, W. A. Mozart. 2 volumes. Revised

edition. Leipzig, 1923-1924.

AMZ — Allgemeine Musikalische Zeitung (Oct. 1788-Dec. 1848).

Bliimml =Emil Karl Blumml, Aus Mozarts Freundes- und Familien-

kreis. Vienna, 1923.

Jahn =Otto Jahn, Wolfgang Amadeus Mozart. 4 volumes.

Leipzig, 1856-1859.

Kochel =Dr. Ludwig Ritter von Kochel, Chronologisch-thematisches

Verzeichnis samtlicher Tonwerke Wolfgang A made* Mozarts.
3rd edition, revised by Alfred Einstein. Leipzig, 1937.

Leitzmann = Albert Leitzmann, Wolfgang Amadeus Mozarts Leben in
seinen Briefen und Berichten der Zeitgenossen. Leipzig,
1926.

MJ = Mozart-Jahrbuch. Herausgegeben von Hermann Abert.

Munich, 1923-1924, and Augsburg, 1929.

MM —Mozarteums Mitteilungen, Zentralausschuss der Mozart-

gemeinde in Salzburg. November, I9i8-May, 1921.

MMB —Mitteilungen filr die Mozartgemeinde in Berlin. Heraus

gegeben von Rudolf Genee, 1895-1921.

Niemetschek = Franz Niemetschek, Leben des K. K. Kapellmeisters Wolf-
gang Gottlieb Mozart. Prague, 1798. (Reprinted Prague,
1905.)

Nissen =Georg Nikolaus von Nissen, Biografhie W. A. Mozarts.

Leipzig, 1828.

,Nohl = Ludwig Nohl, Mozarts Brief e. 2nd edition. Leipzig, 1877.

Nottebohm =Gustav Nottebohm, Mozartiana. Leipzig, 1880.

Schiedermair = Ludwig Schiedermair, Die Brief e Mozarts und seiner
Familie. 4 volumes. Munich and Leipzig, 1914.

Schurig = Arthur Schurig, Wolfgang Amadeus Mozart. 2 volumes.

2nd edition. Leipzig, 1923.

WSF =T. de Wyzewa et G. de Saint- Foix, W. A. Mozart. Sa vie

musicale et son ozuvre de Venfance a la fileine maturitet
1756-1777. 2 volumes. Paris, 1912. The third volume of
this epoch-making study of Mozart's musical development,
which covers the years 1777-1783, was brought out by
M. de Saint-Foix in 1936.

ZMW = Zeitschrift fur Musikwissenschaft.

xxi

TABLE OF MONEY VALUES

THE following table has been compiled from information contained in
Muret-Saunders's German-English Dictionary, in Professor W. H.
Bruford's Germany in the Eighteenth Century (Cambridge, 1935),
p. 329 f., and in the letters of Leopold Mozart, who frequently quotes
the equivalent values of foreign coins and the fluctuating rates of ex
change between the various German states. As there were several
standards in common use for the minting of silver coins during the
latter half of the eighteenth century, the values here given are of
necessity only approximate.

GERMANY AND AUSTRIA

Taking the South German kreutzer (worth 4 pfennige, slightly
more than the English farthing) as the standard, the following equi
valent values of silver coins are obtained:

60 kreutzer (or 16 groschen) = i gulden, about two shillings.
90 kreutzer (or 24 groschen) = i reichsthaler, about three shillings.
120 kreutzer (or 32 groschen) = i laubthaler or federthaler, about
four shillings.

The following gold coins were in common use in Germany and
Austria:

i ducat (used all over Europe) =4! gulden, about nine shillings.
i max d'or (used chiefly in Bavaria) = 6 J- gulden, about thirteen

shillings.
i friedrich d'or (used chiefly in Prussia) = 8 gulden, about

sixteen shillings.

i pistole (used all over Europe) = 7 \ gulden, about fifteen shillings.
i carolin (used chiefly in Southern Germany) = 9 gulden, about

eighteen shillings.
i souverain d'or (used chiefly in Austria) = 13! gulden, about

twenty-seven shillings.

FRANCE

i Hard = about one farthing.
20 sous = i livre, about eleven pence.
i louis d'or = 22 livres, about twenty shillings.

xxiii

TABLE OF MONEY VALUES
ITALY

i paolo (a silver coin of Tuscany, worth originally about 56
centesimi, and still used as the equivalent of half a lira) =
about sixpence.

icigliato (or, more commonly, gigliato) = a ducat, about nine
shillings.

i zecchino (a Venetian gold coin) = about ten shillings.

i doppio- probably a doppio zecchino, about twenty shillings.

HOLLAND
* = about twenty-eight shillings.

1 Leopold Mozart calls this coin a 'reitter*. See p. 90.

XXIV

LIST OF ILLUSTRATIONS

VOLUME III

26. Mozart (1782) ...... Frontispiece

From an unfinished portrait by Josef Lange.
Mozart Museum, Salzburg.

FACING
PAGE

27. Emperor Joseph II . . . . .1072

From an engraving by L. M.

Gesellschaffc der Musikfreunde, Vienna.

28. Stephanie der jiingere ...... 1088

From an engraving by J. E. Mansfeld after a portrait by Josef
Lange.

Nationalbibliothek, Vienna.

29. Constanze Mozart, nee Weber (1782) . . . 1168

From a portrait by Josef Lange.

Hunterian Museum, University of Glasgow.

30. Lorenzo Da Ponte ...... 1201

From a water-colour painting by an unknown artist.
Signor Riccardo Rossi, Vittorio Veneto.

31. Muzio dementi (1794) • • - • .1216

From an engraving by T. Hardy.
British Museum.

32. Marianne Mozart, Freifrau von Berchtold zu Sonnenburg

(1785) • • • ..- • • • I233

From a portrait by an unknown artist.
Mozart Museum, Salzburg.

33. Gottfried Van Swieten . . . . . .1264

From an engraving by J. Axmann after a portrait by P. Fendi.
Gesellschaft der Musikfreunde, Vienna.

34. Anna Storace in the character of Euphrosyne . . 1281

From an engraving by Conde" after a portrait by De Wilde.
British Museum.

35. Joseph Haydn (1800) ...... I3I3

From an engraving by P. N. Gue"rin.
Paul Hirsch, Esq., Cambridge.

36. Josef and Aloysia Lange (1785) .... 1328

From an engraving by Daniel Berger after a drawing by Josef
Lange.

Mozart Museum, Salzburg.

XXV

LIST OF ILLUSTRATIONS

FACING
PAGE

37. Emanuel Schikaneder ...... 1344

From an engraving by LoschenkohL

Gesellschaft der Musikfreunde, Vienna.

38. Antonio Salieri ....... 1360

From an engraving by C. F, Riedel.
C. B. Oldman, Esq., London.

39. Mozart (1789) 1388

From a silver point drawing by Doris Stock
Musikbibliothek Peters, Leipzig.

40. Constanze Mozart (1802) ..... 1453

From a portrait by Hans Hansen.
Mozart Museum, Salzburg.

XXVI

FACSIMILE OF LETTER

5. Letter from Mozart to his father (January 4th, 1783) . 1242-3

PAGE

XXV11

Early in March Ij8l Mozart, as a member of the Arch"
bishop 's household, was summoned by his master to Vienna,
where he was to spend the remaining ten years of his life.
The first months were marked by his breach with the Arch
bishop and the renewal of his friendship with the Weber
family, which eventually led to his marriage to Constanze
Weber. This is the period of Mozart's masterpieces, his
piano concertos, his operas, his symphonies and his finest
contributions to chamber music. Letters 393-616.

VOL. Ill

(393) Mozart to his Father

[Autograph in the Mozarteum, Salzburg}

MON TRES CHER AMY! VlENNE, ce 17 de mars, 1781

Yesterday, the i6th, I arrived here,1 thank God, all
by myself in a post chaise — at nine o'clock in the morning
— I was nearly forgetting to mention the hour. I travelled
in the mail coach as far as Unterhaag — but by that time
I was so sore in my behind and its surrounding parts that
I could endure it no longer. So I was intending to proceed
by the ordinaire, but Herr Escherich, a government
official, had had enough of the mail coach too and gave
me his company as far as Kemmelbach. There I was pro
posing to wait for the ordinaire, but the postmaster assured
me that he could not possibly allow me to travel by it,
as there was no head office there. So I was obliged to
proceed by extra post, reached St. Polten on Thursday,
the 1 5th, at seven o'clock in the evening, as tired as a
dog, slept until two in the morning and then drove on
straight to Vienna. Where do you think I am writing this
letter? In the Mesmers' garden in the Landstrasse. The
old lady is not at home, but Fraulein Franzl, who is now
Frau von Posch,2 is here and asks me to send a thousand
greetings to you and my sister. Well, upon my honour, I
hardly recognised her, she has grown so plump and fat.
She has three children, two young ladies and a young
gentleman. The eldest young lady, who is called Nannerl,
is four years old, but you would swear that she was six;

1 Mozart left Munich on March I2th, having been summoned to Vienna
by the Archbishop, who had gone there at the end of January, probably in
connection with the death of the Empress.

2 Fraulein Franzl, whom Dr. Mesmer had cured, had married his stepson
von Posch.

1059

1*393 MOZART TO HIS FATHER i?8i

the young gentleman is three, but you would swear that
he was seven; and the infant of nine months you would
take to be two years old, they are all so strong and robust.
Now for the Archbishop. I have a charming room in the
very same house where he is staying. Brunetti and Cec-
carelli are lodging in another. Che distinzione! l My neigh
bour is Herr von Kleinmayr2 — who loaded me on my
arrival with all sorts of kindnesses. He is indeed a charm
ing man. We lunch about twelve 'o'clock, unfortunately
somewhat too early for me. Our party consists of the two
valets, that is, the body and soul attendants of His Worship,
the controleur, Herr Zetti,3 the confectioner,4 the two
cooks, Ceccarelli, Brunetti and — my insignificant self. By
the way, the two valets sit at the top of the table, but at
least I have the honour of being placed above the cooks.5
Well, I almost believe myself back in Salzburg! A good
deal of silly, coarse joking goes on at table, but no one
cracks jokes with me, for I never say a word, or, if I have
to speak, I always do so with the utmost gravity; and as
soon as I have finished my lunch, I get up and go off. We
do not meet for supper, but we each receive three ducats
—which goes a long way! The Archbishop is so kind as
to add to his lustre by his household, robs them of their
chance of earning and pays them nothing. We had a
concert yesterday at four o'clock, and at least twenty
persons of the highest rank were present. Ceccarelli has
already had to sing at Count Palfy's. To-day we are to
go to Prince Galitzin,6 who was at the Archbishop's

1 What a distinction!

2 Private secretary to the Archbishop and chairman of the court council.

3 Zetti was "Kammerfourier", or Private Messenger, to the Archbishop"
^ E. M. Kolnberger.

5 It was customary in the eighteenth century for court musicians to be
treated in the same way as other servants in the retinue of a Prince Arch
bishop or any other great lord.

6 Russian Ambassador to the Viennese court. He .had filled the same post
in Paris.

1060

MOZART TO HIS FATHER

yesterday. Well, I must wait and see whether I shall get
anything. If I get nothing, I shall go to the Archbishop
and tell him with absolute frankness that if he will not
allow me to earn anything, then he must pay me, for I
cannot live at my own expense. Well, I must close this
letter which I shall hand in at the post office on my way,
for I must be off to Prince Galitzin's. I kiss your hands
a thousand times and embrace my sister with all my
heart and am ever your most obedient son

WOLFGANG AMADE MOZART

P.S. — Rossi,1 the buffo singer, is here. I have been to
see the Fischers — I cannot describe how delighted they
were to see me — the whole household send you their
greetings. I hear that concerts are being given in Salz
burg. Goodness, just think what I am missing! Adieu!
My address is:

Im Deutschen Hause,
Singerstrasse.2

(394) Mozart to his Father

[Autograph in the Mozarteum, Salzburg]

VIENNA, March iZth-zqth, 1781

Copie du billet autographe de Sa Majeste PEmpereur
au Prince de Kaunitz-Rittberg dans une boite de tous les
portraits de la famille Imperiale du 14 mars 1781:

MON CHER PRINCE,

Je n'ai pas pu resister & 1'envie de vous envoyer cette
tabatiere, que je viens de recevoir de Bruxelles et qui avait

1 Rossi, a tenor, had" probably taken the part of the Podesta in the
Munich production of "La finta giardiniera", 1775. See Kochel, p. 276,

2 Mozart was allotted quarters in the Deutsches Ordenshaus, the head
quarters of the Teutonic Order, in the Singerstrasse no. 856 (at present
no. 7). For a full list of Mozart's many residences in Vienna during the last
ten years of his life, see Abert, vol. ii. p. 1035 f.

1061

L.-394 MOZART TO HIS FATHER 1781

ete donnee par feue Sa Majeste au Prince Charles.1 Quelque
vilaine incommode qu'elle soit, il m'a paru qu'elle etait faite
uniquement pour sejourner sur votre table et pour vous
rappeler parfois les physionomies de personnes, qui toutes
ensemble et chacune en particulier vous doivent beaucoup
de reconnaissance pour les services essentiels que vous leur
avez rendus. Je n'en fais qu'une partie, mais je ne crains
point d'etre leur interprete, assure qu'ils pensent tous
comme moi a ce sujet. Adieu. Pardonnez cette folie a
1'amitie raisonnee que vous me connaissez inviolablement

pour vous.

JOSEPH
Reponse du Prince Kaunitz-Rittberg!

Par les expressions du billet autographe dont Votre
Majeste Impdriale a eu la bonte d'accompagner la boite
qu'elle a daigne m'envoyer, et qui contient le precieux
receuil des portraits de toute la famille Imp6riale, elle vient
de recompenser de la fagon du monde qui pourrait etre la
plus agreable a mon coeur les services que j'eu pu avoir le
bonheur de rendre a son auguste maison depuis quarante
ans. II ne me reste a d6sirer que de les voir honorer des
sentiments que Votre Majest6 veut bien leur accorder, et il
ne manque plus rien moyennant cela a mon enti&re satis
faction, qui est d'autant plus vive que les traits de ce genre
ne peuvent manquer de transmettre les noms de Votre
Majeste a la posterite dans le sens de ceux de Trajan, de
Marc-Aurele et de Henri Quatre, dont jusqu'a nos jours on
a beni la memoire et prononc^ encore les noms avec autant
de veneration que d'attendrissement. Je ne puis en t6moigner
ma reconnaissance a Votre Majest£ Imperiale qu'en con
tinuant et en redoublant meme, s'il est possible, de z£le pour
son service et d'attachement pour sa personne. J'y prends
bien plus d'interet qu'a moi-meme et comme je crois qu'il
ne se trouvera peut-etre jamais T occasion plus propre a
donner de Votre Majeste Imperiale I'opinion que je desire
que toute la terre puisse prendre d'elle que ne Test le con-
tenu de son gracieux billet, que je ne saurais lui cacher que je

1 Brother of the Emperor Francis I and Governor of the Austrian Nether
lands. He died in 1780.

1062

1781 MOZART TO HIS FATHER 1.393

ddsirais fort qu'elle trouvat bon qu'il ne reste pas ignore. Je
ne ferai cependant rien a cet egard avant d'en avoir obtenu
la permission, si ce n'est un fide-commis dans ma famille de
la boite ainsi que de ce respectable billet. Je supplie Votre
Majeste Imperiale de vouloir bien accueillir en attendant
avec bonte 1' assurance respectueuse de ma vive recon
naissance et de mon attachement sans bornes pour sa per-
sonne qui ne finira pas qu'avec moi.

KAUNITZ

As I have just had the opportunity at Madame
Lamotte's of copying out these two delightful billets, I
thought I ought to do so. Mademoiselle Lamotte1 is no
longer living with the Countess Schonborn.2 She has
written to us and, moreover, has replied to all the points
about Count Rosenberg3 and Baron Kleinmayr. She
swears that she has done so. Further, she and her mamma
send a thousand greetings to you both; and so does Herr
von Vogter, who was at Milan and who is to leave shortly
for Klagenfurt with the Archduchess Maria Anna.4 I kiss
your hands a thousand times, embrace my sister most
cordially and remain 5

(395) Mozart to his Father

[Autograph in the Mozarteum, Salzburg]
MON TRES CHER PERE! VIENNA, March ZAfh-T&th, 1 78 1

I have received your letter of the 2oth and am
delighted to hear that both of you have reached home 6

1 Probably the wife and sister of Franz Lamotte, a famous violinist, who
had been in the service of the Empress Maria Theresa. See p. 216, n. 2.

2 A sister of the Archbishop of Salzburg.

3 Franz Xaver Wolf Orsini- Rosenberg (1723-1796), who had been appointed
in 1779 Chief Chamberlain and Director of the Court Theatre in Vienna.

* The Archduchess Maria Anna (1738-1787) was the second child of the
Empress Maria Theresa.

5 The signature and date have been cut off the autograph.

6 Mozart's father and sister had remained on in Munich after he had been
summoned by the Archbishop to Vienna.

1063

L.J95 MOZART TO HIS FATHER ij8i

safely and are in very good health. You must put it down
to my pen and this wretched ink, if you have to spell out
this letter rather than read it. Basta! It must be written —
and the gentleman who cuts my pens, Herr von Lirzer,
has let me down this time. You probably know him
better than I do. I cannot describe him more appropriately
than by saying that he is, I believe, a native of Salzburg
and that up to the present I have never seen him except
once or twice at the Robinigs' so-called eleven o'clock
music. He, however, called on me at once and seems to be
a very pleasant and (since he has been cutting my pens
for me) a very civil fellow. I take him to be a secretary. I
have also had a surprise visit from Gilowsky, Katherl's
brother.1 Why a surprise visit? — Well, because I had
entirely forgotten that he was in Vienna. How quickly a
foreign city can improve a man! Gilowsky will certainly
become an upright, honest fellow, both in his metier and
in his demeanour. Meanwhile you will have received the
letters exchanged between the Emperor and Prince
Kaunitz.2 What you say about the (Archbishop) is to a
certain extent perfectly true — I mean, as to the manner in
which I tickle his (ambition). But of what use is all this to
me? I can't subsist on it. Believe me, I am right in saying
that he acts as a screen to keep me from the notice of
others. What (distinction,) pray, does he confer upon me?
Herr von Kleinmayr and Bonike3 have (a separate
table) with the illustrious Count (Arco).4 It would be
some distinction if (I sat at that table,) but there is none
in sitting (with the valets,) who, when they are not

1 Franz Wenzel Gilowsky (1757-1816), who became a doctor in Vienna.
He was best man at Mozart's marriage to Constanze Weber in 1782.
* See Letter 394.

3 Johann Michael Bonike was private secretary to the Archbishop and a
member of the Ecclesiastical Council.

4 Count Karl Arco (1743-1830), one of the principal members of the
Archbishop's household. He was the son of Count Georg Anton Felix Arco,
Chief Chamberlain to the Archbishop.

1064

ijSi MOZART TO HIS FATHER 1.395

occupying the best seats <at table,) have to light the
chandeliers, open the doors and wait in the anteroom
(when / am within) — and with the cooks too! Moreover,
when we are summoned to a house where there is a con
cert, Herr Angerbauer * has to watch outside until the
Salzburg gentlemen arrive, when he sends a lackey to
show them the way in. On hearing Brunetti tell this in
the course of a conversation, I thought to myself, "Just
wait till I come along!". So the other day when we
were to go to Prince Galitzin's, Brunetti said to me in his
usual polite manner: "Tu, bisogna che sii qui stasera alle
sette per andare insieme dal Principe Galitzin. L'Anger-
bauer ci condurra." Ho risposto: "Va bene — ma — se in
caso mai non fossi qui alle sette in punto, ci andate pure,
non serve aspettarmi — so bene dove sta, e ci verro
sicuro"2 — I went there alone on purpose, because I really
feel ashamed to go anywhere with them. When I got
upstairs, I found Angerbauer standing there to direct the
lackey to show m£ in. But I took no notice, either of the
valet or the lackey, but walked straight on through the,
rooms into the music room, for all the doors were open, —
and went straight up to the Prince, paid him my respects
and stood there talking to him. I had completely forgotten
my friends Ceccarelli and Brunetti, for they were not to
be seen. They were leaning against the wall behind the
orchestra, not daring to come forward a single step. If a
lady or a gentleman speaks to Ceccarelli, he always
laughs: and if anyone at all addresses Brunetti, he colours
and gives the dullest answers. Oh, I could cover whole
sheets if I were to describe all the scenes which have taken
place between the (Archbishop) and the two of them since

1 Johann Ulrich Angerbauer, one of the Archbishop's private valets.

2 "You must be here at seven o'clock this evening, so that we may go
together to Prince Galitzin's. Angerbauer will take us there." Ijreplied:
"All right. But if I'm not here at seven o'clock sharp, just go ahead. You
need not wait for me. I know where he lives and I will be sure to be there.''

1065

L.395 MOZART TO HIS FATHER 1781

I have been here and indeed before I came. I am only
surprised that he is not ashamed of Brunetti. Why, I am
ashamed on his account. And how the fellow hates being
here! The whole place is far too grand for him. I really
think he spends his happiest hours at table. Prince
Galitzin asked Ceccarelli to sing to-day. Next time it
will be my turn to perform. I am going this evening
with Herr von Kleinmayr to Court Councillor Braun,
a good friend of his, who is supposed to be one of
the greatest enthusiasts for the clavier. I have lunched
twice with Countess Thun1 and go there almost every
day. She is the most charming and most lovable lady
I have ever met; and I am very high in her favour.
Her husband is still the same peculiar, but well-meaning
and honourable gentleman. I have also lunched with
Count Cobenzl.2 I owe this to his aunt, Countess von
Rumbeck, sister of the Cobenzl in the Pagerie, who
was at Salzburg with her husband. Weil, my chief
object here is to introduce myself to (the Emperor)
in some becoming way, for I am absolutely determined
that he shall get to know me. I should love to run
through my opera 3 for him and then play a lot of fugues,
for that is what he likes. Oh, had I but known that I
should be in Vienna during Lent, I should have written
a short oratorio and produced it in the theatre for my
benefit, as they all do here. I could easily have written it
beforehand, for I know all the voices. How gladly would
I give a public concert, as is the custom here. But I know
for certain that I should never get permission to do so —
for just listen to this! You know that there is a society
in Vienna which gives concerts for the benefit of the

1 Countess Wilhelmine Thun (1744-1800), wife of Count Franz Josef
Thun (1734-1788), and the mother of three beautiful daughters. She had
been a pupil of Haydn and was later a friend of Beethoven.

* Count Johann Philipp von Cobenzl, Court and State Chancellor in
Vienna. 3 "Idomeneo."

1066

1781 MOZART TO HIS FATHER 1.395

widows of musicians,1 at which every professional
musician plays gratis. The orchestra is a hundred and
eighty strong.2 No virtuoso who has any love for his
neighbour, refuses to give his services, if the society asks
him to do so. Besides, in this way he can win the favour
both of the Emperor and of the public. Starzer was com
missioned to invite me and I agreed at once, adding,
however, that I must first obtain the consent of my
Prince, which I had not the slightest doubt that he would
give — as it was a matter of charity, or at any rate a
good work, for which I should get no fee. He would not
permit me to take part. All the nobility in Vienna have
made a grievance of it. I am only sorry for the following
reason. I should not have played a concerto, but (as the
Emperor sits in the proscenium box) I should have
extemporised ahd played a fugue and then the variations
on "Je suis Lindor"3 on Countess Thun's beautiful Stein
pianoforte, which she would have lent me. Whenever I
have played this programme in public, I have always
won the greatest applause — because the items set one
another off so well, and because everyone has something
to his taste. But pazienza!

Fiala has risen two thousand times higher in my
estimation for refusing to play for less than a ducat. Has
not my sister been asked to play yet? I hope she will
demand two ducats. For, as we have always been utterly
different in every way from the other court musicians, I
trust we shall be different in this respect too. If they

1 The "Wiener Tonkunstlersozietat", which was founded in 1771 by
Florian Gassmann. Since 1862 it has been the Haydnverein. Mozart, who
wished to join this society in 1785 and who had several times performed
gratis for its benefit, was refused admission because he could not produce a
certificate of baptism. See Pohl, Haydn, vol. ii. p. I34f-, and Hanslick,
Geschichte des Konzertwesens in Wien, 1869, p. 6 ff.

2 This figure includes, of course, the choir.

3 K. 354. Twelve clavier variations, composed in Paris in 1778, on "Je suis
Lindor", an arietta in Beaumarchais's "Le Barbier de Seville".

1067

L.395 MOZART TO HIS FATHER 1781

won't pay, they can do without her — but if they want her,
then, by Heaven, let them pay. '

I shall go to Madame Rosa one of these days and you
will certainly be pleased with your clever diplomat. I
shall handle the matter as tactfully as dicLWeiser, x when
the bell was tolled for his wife's mother.

Herr von Zetti offered immediately after my arrival to
deliver my letters. He will send them off with the parcel,
I do not require the two quartets 2 nor the Baumgarten
aria.3 A propos. What about (the Elector's present?) Has
anything (been sent yet?) Did you call on <the Countess
Baumgarten) before you left Munich?

Please give my greetings to all my good friends, and
especially to Katherl, Schachtner and Fiala. Herr von
Kleinmayr, Zetti, Ceccarelli, Brunetti, the controleur,
the two valets, Leutgeb4 and Ramm, who leaves on
Sunday, send their compliments to all. A propos, Peter
Vogtishere. Well, goodbye. I kiss your hands a thousand
times and embrace my sister most cordially and am ever
your most obedient son

WOLFGANG AMAD£ MOZART

Rossi, the buffo singer, is here too.

March 28 tA. I could not finish this letter, because Herr
von Kleinmayr fetched me in his carriage to go to a
concert at Baron Braun's. So I can now add that (the
Archbishop has given me permission to play at the

1 A former mayor of Salzburg.

* Possibly one of these quartets is K. 370, an oboe quartet composed at
Munich early in 1781 for Mozart's friend Ramm.

3 K. 369. "Misera, dove son!", written for the Countess Baumgarten on
March 8th, 1781.

4 Ignaz Leutgeb, horn-player in the Salzburg court orchestra, had opened
a cheesemonger's shop in a suburb of Vienna with the half of a money loan
from Leopold Mozart. He continued to play in public, and he and Mozart
became fast friends. Mozart's horn concertos, K. 412, 417, 447 and 495,
composed between the years 1782 and 1786, were written for Leutgeb.

1068

1781 MOZART TO HIS FATHER 1.595

concert for the widows.) For Starzer went to the concert
at (Galitzin's) and he and <all the nobility worried the
Archbishop until he gave his consent.) / am so glad. Since
I have been here I have lunched at home only four times. .
The hour is too early for me — and the food is wretched.
Only when the weather is very bad, as to-day, par exemple,
I stay at home.

Do write and tell me what is going on in Salzburg, for
I have been plagued with questions. These gentlemen
are far more anxious for news of Salzburg than I am.
Madame Mara is here and gave a concert in the theatre
last Tuesday. Her husband dared not let himself be seen,
or the orchestra would not have accompanied her; for he
published in the newspapers that there was no one in all
Vienna fit to do this. Adieu. Herr von Moll paid me a
visit to-day and I am to breakfast with him to-morrow
or the day after and bring my opera1 with me. He sends
greetings to you both. As soon as the weather improves, I
shall call on Herr von Aurnhammer and his fat daughter.2
From these remarks you will see that I have received
your last letter of the 24th. Old Prince Colloredo 3 (at
whose house we held a concert) gave each of us five ducats.
Countess Rumbeck is now my pupil. Herr von Mesmer
(the school inspector) and his wife and son send you their
greetings. His son plays magnifique, but, as he imagines
that he knows quite enough already, he is lazy. He has
also considerable talent for composition, but is too indolent
to devote himself to it, which vexes his father. Adieu.

1 "Idomeneo."

2 Fraulein Josephine Aurnhammer became Mozart's pupil on the clavier,
and he wrote for her his sonata for two pianos, K. 448. She married in 1796
and, as Frau Bosenhonig, was still performing in public in 1813. She herself
composed several series of pianoforte variations.

3 Prince Rudolf Colloredo, father of the Archbishop of Salzburg.

1069

L.39$ MOZART TO HIS FATHER

(396) Mozart to his Father

[Autograph in the Mozarteum, Salzburg]
MoN TRES CHER P&RE! VlENNE, ce 4 d'avril, 1781

My letter to-day must be very short, but Brunetti
returns to Salzburg on Sunday and then I shall be able
to write you a longer one.

You want to know how we are getting on in Vienna —
or rather, I hope, how I am getting on; for the other two
I do not count as having anything to do with me. I told
you in a recent letter that (the Archbishop) is a great ^
hindrance to me here, for he has done me out of at least >>
a hundred ducats, which I could certainly have made f
by giving <a concert in the theatre.) Why, the ladies
themselves offered of their own accord to distribute the
tickets. I can say with truth that I was very well pleased^
with the Viennese public yesterday, when I played at the
concert for the widows * in the Kartnerthor theatre. I had
to begin all over again, because there was no end to the
applause. Well, how much do you suppose I should mak£
if I were to give a concert of my own, now that the public<C
has got to know me? But this <arch-booby> of ours will
not allow it. He does not want his people to have any''
profit — only loss. Still, he will not be able to achieve this
in my case, for if I have two pupils I am better off in
Vienna than in Salzburg. Nor do I need his board and^
lodging. Now listen to this. Brunetti said to-day at table
that Arco had told him on behalf of the Archbishop that
he (Brunetti) was to inform us that we were to receive the
money for our mail coach fares and to leave before Sunday.
On the other hand, whoever wanted to stay on (oh, how
judicious!} could do so, but would have to live at his own

1 See p. 1067, n. i. Mozart played a piano concerto and one of his sym
phonies, possibly K. 338, was performed. See E. Hanslick, Geschichte des
Konzertwesens in Wien, p. 32. l

1070

MOZART TO HIS FATHER 1.396

expense, as he would no longer get .board and lodging
from the Archbishop. Brunetti, qui ne demande pas
mieux, smacked his lips. Ceccarelli, who would like to
remain, but who is not so well known as I am and does
not know his way about so well as ,1 do, is going to make
a push to get something. If he does not succeed, well, in
God's name, he must be off, for there is not a house in
Vienna where he can get either a meal or a room without
paying for it. When they asked me what I intended to do,
I replied: "/ do not know as yet that / have to leave, for
£jQ until Count Arco tells me so himself, / shall not believe it.
- When he does, / shall then disclose my intentions. Put
that in your pipe and smoke it!' Bonike was present and
& grinned. Oh indeed, <I shall certainly fool the Arch-
\j-bishop to the top of his bent and how I shall enjoy doing
f\ it!> I shall do it with the greatest politesse — (and he will
<7\ not be able to dodge me.) Enough of this. In my next
letter I shall be able to tell you more. Rest assured that
unless I am in a good position and can see clearly that it
jr) is to my advantage to do so, I shall certainly not remain
^ in Vienna. But if it is to my advantage, why should I not
profit by it? Meanwhile, (you are drawing two salaries
and have not got to feed me.) If I stay here, I can promise
that I shall soon (be able to send home some money.)
1 am speaking seriously, and if things turn out otherwise,
_>! shall return to Salzburg. Well, adieu. You shall have
^the full story in my next letter. I kiss your hands a thousand
times and embrace my sister with all my heart, and I hope
fythat she has replied to Mile Hepp. Adieu, ever your most
^obedient son

WOLFGANG AMADE MOZART

My compliments to all — all — all.

P.S. — I assure you that this is a splendid place — and

1071

1.597 MOZART TO HIS FATHER 1781

for my metier the best one in the world. Everyone will
tell you the same. Moreover, I like being here and there-,
fore I am making all the profit out of it that I can.
Believe me, my sole purpose is to make as much money
as possible; for after good health it is the best thing to
have. Think no more of my follies, of which I have
repented long ago from the bottom of my heart. Mis
fortune brings wisdom, and my thoughts now turn in
a very different direction. Adieu. You will have a full
account in my next letter.
Adieu.

(397) Mozart to his Father

[Autograph in the Mozarteum, Salzburg]

MON TR£S CHER P£RE! VIENNE, ce 8 d'aprile, 1781

<I began a longer and more interesting letter to you,
but I wrote too much about Brunetti in it, and was afraid
that his curiosity might tempt him to open the letter,
because Ceccarelli is with me.) I shall send it by the next
post and in it I shall write more fully than I can to-day.
Meanwhile you will have received my other letter.1 I told
you about the applause in the theatre, but I must add that
what delighted and surprised me most of all was the
amazing silence — and also the cries of " Bravo!" while I
was playing. This is certainly honour enough in Vienna,
where there are such numbers and numbers of good
pianists. To-day (for I am writing at eleven o'clock at
night) we had a concert, where three of my compositions
were performed — new ones, of course; a rondo for a con
certo for Brunetti;2 a sonata with violin accompaniment
for myself,3 which I composed last night between eleven
and twelve (but in order to be able to finish it, I only

1 Letter 396. z K. 373. Rondo for violin and orchestra in C major.

3 K. 379. See Kochel, p. 457.

1072

EMPEROR JOSEPH II

From an engraving by L. M.
(Gesellschaft der Musikfreunde, Vienna)

1781 MOZART TO HIS FATHER L.3g8

wrote out the accompaniment for Brunetti and retained
my own part in my head); and then a rondo for Ceccarelli,1
which he had to repeat. I must now beg you to send me a
letter as soon as possible and to give me your fatherly and
most friendly advice on the following matter. <It is said
that we are to return to Salzburg in a fortnight. I can stay
on here, and that too not to my loss, but to my advan
tage.) So I am (thinking of asking the Archbishop to
allow me to remain in Vienna.) Dearest father, (I love
you dearly; that you must realise, from the fact that for
your sake I renounce all my wishes and desires. For, were
it not for you, I swear to you on my honour that) I should
not hesitate for a moment (to leave the Archbishop's
service.) I should (give a grand concert, take four pupils,
and in a year I should have got on so well in Vienna that
I could make at least a thousand thalers a year.) I assure
you that I often (find it difficult to throw away my luck
as I am doing.) As you say, I am still (young.) True —
but (to waste one's youth in inactivity in such a beggarly
place is really very sad — and it is such a loss.) I should
like to have your kind and fatherly advice about this, and
very soon, — for I must tell him what I am going to do.
But do have confidence in me, for I am more prudent now.
Farewell. I kiss your hands a thousand times and embrace
my sister with all my heart and am ever your most obedient

WOLFGANG AMAD£ MOZART

(398) Mozart to his Father

[Autograph in the Mozarteum, Salzburg\

MON TR£S CHER P£RE! VIENNE, ce n d'avril, 1781

Te Deum Laudamus that at last that coarse and

dirty Brunetti has left, who is a disgrace to his master, to

himself and to the whole orchestra — or so say Ceccarelli

1 K. 374. A recitative and aria, "A questo seno deh vieni".
VOL. Ill 1073 C

MOZART TO HIS FATHER 1781

and I . There is not a word of truth in all the Vienna
news which you have heard, except that Ceccarelli is to
sing in the opera at Venice during the next carnival.
Great Heavens! A thousand devils! I hope that this is
not swearing, for if so, I must at once go and confess
again. For I have just returned from confession, as
to-morrow (Maundy Thursday) the Archbishop in his
sublime person is to feed l the whole court personnel.
Ceccarelli and I went off to-day after lunch to the
Theatines2 to find Father Froschauer, who can speak
Italian. A pater or frater, who happened to be standing
on the altar and trimming the lights, assured us, how
ever, that the Father and another one who knows Italian
had not lunched at home and would not return until
four o'clock. So this time I went on alone and was
shown upstairs into a room where there was a priest;
while Ceccarelli waited for me below in the courtyard.
What did please me was that when I told the reverend
chandelier-cleaner that eight years ago3 I had played
a violin concerto in that very choir, he immediately
mentioned my name. But now to return to my swearing,
I must tell you that it is only a pendant to. my last letter,
to which I hope to receive a reply by the next post. In
short, next Sunday week, April 22nd, Ceccarelli and I
are to go home. When I think that I must leave Vienna
without bringing home at least a thousand gulden, my
heart is sore indeed. So, for the sake of a (malevolent
Prince) who (plagues me) every day and only pays me a
(lousy salary of four hundred gulden,) I am to (kick
away a thousand?) For I should (certainly) make that
sum if I (were to give a concert.) When we had our first
grand concert in this house, (the Archbishop sent each of

1 Intentionally irreverent for "administer the sacrament".

2 The order of the Theatines or Cajetans was dissolved in Vienna in 1784.

3 During the Mozarts' visit to Vienna in the summer of 1773.

1074

ij8i MOZART TO HIS FATHER 1.398

us four ducats,) At the last concert for which I composed
<a new rondo for Brunetti,)1 a (new sonata) for myself,2
and (also a new rondo for Ceccarelli,)3 I received (no
thing). But what made me almost (desperate) was that
the very same (evening) we had this (foul) concert I was
invited to Countess Thun's, but of course could not go;
and who should be there but {the Emperor!) Adam-
berger 4 and Madame Weigl 5 were there and received
fifty ducats each! Besides, what an opportunity! I cannot,
of course, arrange for (the Emperor to be told that if
he wishes to hear me he must hurry up,) as (I am leaving)
Vienna in a few days. One has to (wait for) things like
that. Besides, I (neither can nor will remain here unless
I give a concert.) Still, even if I have only two (pupils,)
I am better off here than in Salzburg. But if I had 1000
or 1 200 gulden (in my pocket, I should be a little more
solicited) and therefore (exact better terms.) That is what
he (will not allow, the inhuman villain.) I must (call
him that, for he is a villain and all the nobility call him
so.) But enough of this. Oh, how I hope to hear by the
next post whether I am to go on (burying my youth and
my talents in Salzburg, or whether I may make my
fortune as best I can, and not wait until it is too late.) It
is true (that I cannot make my fortune) in a fortnight or
three weeks, any more than I (can make it in a thousand
years in Salzburg.) Still, it is more pleasant to wait (with
a thousand gulden a year) than with (four hundred.)6 For

1 K. 373- * K. 379- 3 K. 374.

4 Johann Valentin Adamberger (1743-1804), a famous tenor and a success
ful teacher. He was born in Munich, studied under Valesi in Italy, where he
assumed the name of Adamonti, and made his first appearance at the German
National Theatre in Vienna in 1780.

5 Madame Weigl, the prima donna of the German National Theatre, was
the wife of Joseph Weigl (1740-1820), 'cellist in Prince Esterhazy's orchestra
at Eisenstadt and later in the court orchestra in Vienna. Her son, Joseph
Weigl (1766-1846), became a famous operatic composer.

6 Mozart's yearly salary as court organist in Salzburg was 450 gulden.

1075

1.39* MOZART TO HIS FATHER 1781

if I wish to do so, I am quite certain of making that sum
— ( I have only to say that I am staying on here) — and I
am not (including in my calculations what I may com
pose.) Besides, think of the contrast — (Vienna and Salz
burg!) When (Bonno dies, Salieri will be Kapellmeister,)1
and then (Starzer) will take the place of (Salieri) in con
ducting the practices; and so far (no one) has been
mentioned to take the place of (Starzer.) Basta; — I leave
it entirely to you, my most beloved father! — You ask
whether I have been to see Bonno? Why, it was at his
house that we went through my symphony 2 for the second
time. I forgot to tell you the other day that at the concert
the symphony3 went magnifique and had the greatest
success. There were forty violins, the wind-instruments
were all doubled, there were ten violas, ten double
basses, eight violoncellos and six bassoons.

The whole Bonno household send their greetings to
you. They are truly delighted to see me again. He is just
the same worthy and honourable man. Fraulein Nanette
is married and I have lunched with her twice. She lives
near me. A thousand compliments from the Fischers, on
whom I called on my way home from the Theatines.
Farewell; and remember that your son's sole object is to
establish himself permanently — for — (he can get four
hundred gulden anywhere.) Adieu. I kiss your hands a
thousand times and embrace my dear sister with all my
heart and am ever your most obedient son

W. A. MZT.

P.S.— Be so kind as to tell M. D'Yppold that I shall
answer his letter by the next post and that I received the
letter of his good friend. — Adieu.

1 This did happen. Salieri succeeded Bonno on the latter's death in 1788.

2 Possibly K. 338 in C major, composed in 1780. See Kochel, p. 427.

3 No doubt the same symphony, K. 338.

1076

1781 MOZART TO HIS FATHER L. 399

My compliments to all who are not too dreadfully
(Salzburgish.) Court Councillor Gilowsky too has
played a Salzburg trick on Katherl.

(399) Mozart to his Father

[Autograph in the Mozarteum, Salzburg]

MON TRES CHER PERE! VIENNA, April i8M, 1781

I can't write much to-day either, as it is almost six
o'clock and I must give this letter to Zetti directly. I have
just come from Herr, Frau and Fraulein von Aurn-
hammer, with whom I have been lunching and where we
all drank your health. In regard to your long letter (you
know the one I mean) I. can only say that you are both
right and wrong; but the points where you are right far
outweigh the points where you are wrong. Therefore I
shall certainly return and with the greatest pleasure, too,
as I am fully convinced that you will never prevent me
from making my fortune. Up to this moment I have not
heard a word about the date of my departure. I shall
certainly not leave on Sunday, for from the very first I
declared that I would not travel by the mail coach. For
my part I shall travel by the ordinaire. If Ceccarelli wants
to bear me company, it will be all the pleasanter for me,
for then we can take an extra post-chaise. The whole
difference <so small as to be laughable) consists in a few
gulden; for I should travel day and night, and thus spend
very little on the road. I have noticed that it is almost
dearer by the diligence, or at all events about the same,
as one has to pay all the expenses of the conductor. There
is no hope of doing anything in Linz, for Ceccarelli told
me that he only scraped together forty gulden and had to
give more than thirty to the orchestra. Moreover it would
not be {creditable) to perform (in such a small town,) nor

1077

L.400 MOZART TO HIS FATHER 1781

would it be worth the trouble for such ^{bagatelle) — much
better for me to go straight home, unless <the nobility) were
to get up something to make it worth while. Still, you can
get me some (addresses) there. Well, I must close, or else I
shall miss the parcel. < As for Schachtner's operetta,1) there
is nothing to be done — for the same reason which I have
often mentioned. Stephanie junior2 is going to give me a
new libretto, a good one, as he says; and, if in the mean
time I have left Vienna, he is to send it to me. I could not
contradict (Stephanie.) I merely said that save for the
long dialogues, which could easily be altered, the piece 3
was very good, but not suitable for Vienna, where people
prefer comic pieces. Farewell. I am ever your most
obedient son

W. A. MZT.

I embrace my sister with all my heart and send my
greetings to all my good friends.

(400) Mozart to his Father

[Autograph in the Mozarteum, Salzburg]
MON TRES CHER PERE! VlENNE, ce 2$ d'avril, Ij8l

You are looking forward to my return with great joy,
my dearest father! That is the only thing that can make
me decide to leave Vienna. I am writing all this in our
plain language,4 because the whole world knows and
should know that the Archbishop of Salzburg has only

1 "Zaide."

2 Gottlieb Stephanie (1741-1800) first served in the army and then went
on the stage, and finally became Director of the German Opera in Vienna.
He arranged the text of Mozart's opera "Die Entfiihrung aus dem Serail",
1782, and wrote the libretto for his one-act opera "Der Schauspieldirektor",
1786. His elder brother was Christian Gottlob Stephanie, an actor in Vienna.

3 "Zaide." * Mozart means that he is not using cypher.

1078

I78i MOZART TO HIS FATHER 1.400

you to thank, my most beloved father, that he did not lose
me yesterday for ever (I mean, as far as he himself is con
cerned). We had a grand concert here yesterday, probably
the last of them. It was a great success, and in spite of all
the obstacles put in my way by His Archiepiscopal Grace,
I still had a better orchestra than Brunetti. Ceccarelli will
tell you about it. I had a great deal of worry over arrang
ing this. Oh, it is far easier to talk than to write about it.
If, however, anything similar should happen again, which
I hope may not be the case, I can assure you that I shall
lose all patience; and certainly you will forgive me for
doing so. And I beg you, dearest father, to allow me to
return to Vienna during Lent towards the end of the next
carnival. This depends on you alone and not on the Arch
bishop. For if he does not grant me permission, I shall go
all the same; and this visit will certainly not do me any
harm! Oh, if he could only read this, I should be delighted.
But what I ask, you must promise me in your next letter,
for it is only on this condition that I shall return to Salz
burg; but it must be a definite promise, so that I may
give my word to the ladies here. Stephanie is going to give
me a German opera to compose. So I await your reply.
Up to the present Gilowsky has not brought me any
fichu. If he does, I shall not fail to lay it nice and flat
among the linen in the trunk, so that it may not be
crushed or spoilt. And I shall not forget the ribbons.

I cannot yet say when I shall leave or how. It is really
very tiresome that no information can ever be got out
of these people. All of a sudden we shall be told,
"Aliens, off with you!" One moment we are told that a
carriage is being got ready in which the controleur,
Ceccarelli and I are to travel home; the next moment we
are told that we are to return by the diligence; and again
we are told that each will be given the diligence fare and
may travel as he likes — an arrangement which indeed I

1079

L. 400 MOZART TO HIS FATHER 17*1

should much prefer. One moment we are told that we are
to leave in a week; the next moment it is in a fortnight or
three weeks; and then again, even sooner. Good God! We
don't know what to believe; we simply can't make any
plans. But by the next post I hope to be able to let you
know — % peu prfa. Well, I must close, for I must be off
to the Countess Schonborn. After the concert yesterday
the ladies kept me at the piano for a whole hour. I believe
that if I had not stolen away I should be sitting there still.
I thought I had really played enough for nothing. Adieu.
I kiss your hands a thousand times and embrace my
sister with all my heart and am ever your most obedient
son

W. A. MOZART

P.S. — My greetings to all my good friends. I embrace
young Marchand l most cordially. Please ask my sister,
when she happens to be writing to Mile Hepp, to be so
good as to give her a thousand compliments from me
and to tell her that the reason why I have not written
to her for so long is that I should have had to tell her not
to reply until I wrote to her again. Thus, as I could
not say anything else in my second letter, I should
never have received a letter from her in Vienna — (my
future plans being so uncertain) — and that would have
been intolerable to me. Whereas, as things are, I have no
right to expect one. I shall write to her before I leave.
Adieu.

1 Heinrich Marchand (1770- ? ), son of Theobald Marchand (1741-
1800), theatrical manager in Munich. In 1781 Leopold Mozart took him
and his sister Margarete, aged fourteen, into his house and gave them their
musical education. Margarete, who in 1790 married Franz Danzi (1763-
1826), the 'cellist and composer, became an excellent operatic singer at
Munich. Heinrich became a fine violinist and clavierist a.nd later obtained
an appointment at Regensburg.

1080

MOZART TO HIS FATHER L. 401

(401) Mozart to his Father

[Autograph in the Mozarteum, Salzburg]

MON TRES CHER P^RE! VlENNE, ce 9 de maj, 1781

I am still seething with rage! And you, my dearest
and most beloved father, are doubtless in the same con
dition. My patience has been so long tried that at last it
has given out. I am no longer so unfortunate as to be in
Salzburg service. To-day is a happy day for me. Just listen.
Twice already that — I don't know what to call him —
has said to my face the greatest sottises and impertin
ences , which I have not repeated to you, as I wished to
spare your feelings, and for which I only refrained from
taking my revenge on the spot because you, my most
beloved father, were ever before my eyes. He called me a
(rascal) and a (dissolute fellow) and told me to be off.
And I — endured it all, although I felt that not only my
honour but yours also was being attacked. But, as you
would have it so, I was silent. Now listen to this. A week
ago the footman came up unexpectedly and told me to
clear out that very instant. All the others had been in
formed of the day of their departure, but not I. Well, I
shoved everything into my trunk in haste, and old
Madame Weber1 has been good enough to take me into
her house, where I have a pretty room. Moreover, I am

1 The widow of Fridolin Weber. Her second daughter Aloysia had obtained
in September 1779 an appointment at the German Opera in Vienna, and the
whole family had migrated from Munich to the Imperial capital. Fridolin
Weber died during the following month, and Aloysia in 1780 married the
actor Josef Lange. Frau Weber, who had moved with her family to a house
Am Peter, called the "Auge Gottes", where they occupied the second floor,
decided to let some vacant rooms to lodgers. Mozart went to live there on
May 2nd, 1781. For a detailed account of Frau Weber's life and Mozart's
relations with her, see Blumml, pp. 10-20. See also a short article in MM,
November 1918, pp. 9-12, and an excellent character-study by Arthur
Schurig, Konstanze Mozart ', 1922, p. xxi ff.

1081

L. 401 MOZART TO HIS FATHER

living with people who are obliging and who supply me
with all the things which one often requires in a hurry and
which one cannot have when one is living alone. I
decided to travel home by the ordinaire on Wednesday,
that is, to-day, May gth. But as I could not collect the
money still due to me within that time, I postponed my
departure until Saturday. When I presented myself to
day, the valets informed me that the Archbishop wanted to
give me a parcel to take charge of. I asked whether it was
urgent. They told me, "Yes, it is of the greatest import
ance". "Well," said I, "I am sorry that I cannot have the
privilege of serving His Grace, for (on account of the reason
mentioned above) I cannot leave before Saturday. I have
left this house, and must live at my own expense. So it is
evident that I cannot leave Vienna until I am in a position
to do so. For surely no one will ask me to ruin myself."
Kleinmayr, Moll, Bonike and the two valets, all said that
I was perfectly right. When I went in to the Archbishop —
that reminds me, I must tell you first of all that (Schlauka1)
advised me to (make the excuse) that the (ordinaire was
already full,) a reason which would carry more weight
with him than if I gave him the true one, — well, when I
entered the room, his first words were: — Archbishop*. "Well,
young fellow, when are you going off?" /: "I intended
to go to-night, but all the seats were already engaged."
Then he rushed full steam ahead, without pausing for
breath — I was the <most dissolute fellow he knew — no
one) served him so badly as I did — I had better leave to
day or else he would write home and have my {salary)
stopped. I couldn't get a word in edgeways, for he
blazed away like a fire. I listened to it all very calmly. He
lied to my face that my salary was five hundred gulden,2

1 One of the Archbishop's valets.

a According to Mozart's certificate of appointment as court organist his
salary was 450 gulden. See Abert, vol. ii. p. 906. ,

1082 TV-'' •

1 .6

1781 MOZART TO HIS FATHER 1.401

called me (a scoundrel, a rascal, a vagabond.) Oh, I
really cannot tell you all he said. At last my blood began
to boil, I could no longer contain myself and I said, "So
Your Grace is not satisfied with me?" "What, you dare to
threaten me — you (scoundrel?) There is the (door!) Look
out, for I will have nothing more to do with such (a
miserable wretch.)" At last I said: "Nor I with you!"
"Well, be off!"1 When leaving the room, I said "This is
final. You shall have it to-morrow in writing." Tell me
now, most beloved father, did I not say the word too late
rather than too soon? Just listen for a moment. My honour
is more precious to me than anything else and I know that
it is so to you also. Do not be the least bit anxious about
me. I am so sure of my success in Vienna that I would
have resigned even without the slightest reason; and
now that I have a very good reason — and that too thrice
over — I cannot make a virtue of it. Au contraire, I had
twice played the coward and I could not do so a third
time.

As long as (the Archbishop) remains here, I shall not
(give a concert.) You are altogether mistaken if you think
that I shall (get a bad name with the Emperor and the
nobility,) for (the Archbishop) is detested here and (most
of all by the Emperor.) In fact, he is furious because the
Emperor did not invite him to Laxenburg. By the next
post I shall send you a little (money) to show you that I
am not starving. Now please be cheerful, for my good
luck is just beginning, and I trust that my good luck will
be yours also. Write to me (in cypher) that you are
pleased — and indeed you may well be so — (but in public
rail at me as much as you like, so that none of the blame
may fall on you. But if, in spite of this, the Archbishop
should be the slightest bit impertinent to you,) come at

1 Throughout this conversation, as reported by Mozart, the Archbishop
used the contemptuous form of address "Er".

1083

L.402 MOZART TO HIS FATHER 1781

once with my (sister to Vienna, for I give you my word of
honour that there is enough for all three of us to live on.)
Still, I should prefer it if you could (hold out) for another
year. Do not send any more letters to the Deutsches Haus,1
nor enclose them in their parcels — I want to hear nothing
more about Salzburg. I hate the Archbishop to madness.
Adieu. I kiss your hands a thousand times and embrace
my dear sister with all my heart and am ever your
obedient son

W. A. MOZART

Just address your letters:

To be delivered Auf dem Peter, im Auge Gottes,

2nd Floor.2

(Please inform me soon of your approval, for that is the
only thing which is still wanting to my present happiness.)
Adieu.

(402) Mozart to his Father

[Autograph in the Mozarteum, Salzburg]

MON TRES CHER PERE! VlENNE, ce 12 de may, 1781

You will know from my last letter that I have asked
the Prince for my discharge, because he himself has told
me to go.3 For already in the two previous audiences he
said to me: "Clear out of this, if you will not serve me
properly". He will deny it, of course, but all the same it is
as true as that God is in His Heaven. Is it any wonder
then if, after being roused to fury by "knave, scoundrel,

1 Mozart's quarters while he was in the Archbishop's service.

2 Frau Weber's apartments, where she let vacant rooms to lodgers. The
house "Zum Auge Gottes" still exists. It is Am Peter no. n. See Abert,
vol. ii. p. 1035.

3 For a good study of the reign of 4rc,hbishop Hieronymus Cplloredo, who,
despite the autocratic and somewhat ruthless methods he adopted to carry out
his reforms, appears to have had certain redeeming qualities, see Hans Wid-
mann, GeschichteSalzburgs(Gvt\&t 1914), vol. iii. pp. 460-556. For an account
of the Mozarts' relations with the Archbishop, see Abert, vol. i. p. 357 f.

1084

1781 MOZART TO HIS FATHER L. 402

rascal, dissolute fellow", and other similar dignified ex
pressions uttered by a Prince, I at last took u Clear out of
this" in its literal sense? On the following day I gave
Count Arco a petition to present to His Grace, and I
returned my travelling expenses, which consisted of fifteen
gulden, forty kreutzer for the diligence, and two ducats
for my keep. He refused to take either and assured me
that I could not resign without your consent, my father.
"That is your duty," said he. I retorted that I knew my
duty to my father as well as he did and possibly better,
and that I should be very sorry if I had to learn it first
from him. "Very well," he replied, "if he is satisfied, you
can ask for your discharge; if not, you can ask for it all
the same." A pretty distinction! All the edifying things
which the Archbishop said to me during my three
audiences, particularly during the last one, all the sub
sequent remarks which this fine servant of God made to
me, had such an excellent effect on my health that in the
evening I was obliged to leave the opera in the middle of
the first act and go home and lie down. For I was very
feverish, I was trembling in every limb, and I was
staggering along the street like a drunkard. I also stayed
at home the following day, yesterday, and spent the morn
ing in bed, as I had taken tamarind water.

The Count has also been so kind as to write very
flattering things about me to his father,1 all of which you
will probably have had to swallow by now. They will
certainly contain some astounding passages. But who
ever writes a comedy and wants to win applause, must
exaggerate a little and not stick too closely to the truth.
Besides, you must remember how very anxious these
gentlemen are to serve the Archbishop.

Well, without losing my temper (for my health and my
life are very precious to me and I am only sorry when

1 Count Georg Anton Felix Arco, Chief Chamberlain to the Archbishop.

1085

L. 403 MOZART TO HIS FATHER 1781

circumstances force me to get angry) I just want to set
down the chief accusation which was brought against me
in respect of my service. I did not know that I was a valet
— and that was the last straw. I ought to have idled away
a couple of hours every morning in the antechamber. True,
I was often told that I ought to present myself, but I could
never remember that this was part of my duty, and I only
turned up punctually whenever the Archbishop sent for me.

I will now confide to you very briefly my inflexible
determination, but so that the whole world may hear
it. If I were offered a salary of 2000 gulden by the
Archbishop of Salzburg and only 1000 gulden somewhere
else, I should still take the second offer. For instead of the
extra 1000 gulden I should enjoy good health and peace
of mind. I trust, therefore, by all the fatherly love which
you have lavished on me so richly from my childhood and
for which I can never thank you enough (though indeed I
can show it least of all in Salzburg), that, if you wish to
see your son well and happy, you will say nothing to me
about this affair and that you will bury it in the deepest
oblivion. For one word about it would suffice to embitter
me again and — if you will only admit it — to fill you too
with bitterness.

Now farewell, and be glad that your son is no coward.
I kiss your hands a thousand times, embrace my sister
with all my heart and am ever your most obedient son

WOLFGANG AMAD£ MOZART

(403) Mozart to his Father

\Autografh in the Mozarteum, Salzburg]

MON TRES CHER P£RE! VlENNE, ce 12 de may, 1781

In the letter you received by post I spoke to you as

<if we were in the presence of the Archbishop, but now

1086

I78i MOZART TO HIS FATHER 1.403

I am going to talk to you, my dearest father, as if we
were quite alone.) I shall say nothing whatever about all
the injustice with which the Archbishop has treated me
from the very beginning of his reign l until now, of the
incessant abuse, of all the impertinences and sottises which
he has uttered to my face, of my undeniable right to
leave him — for that cannot be disputed. I shall only speak
of what would have induced me to leave him even without
any cause of offence. I have here the finest and most useful
acquaintances in the world. I am liked and respected by
the greatest families. All possible honour is shown me and
I am paid into the bargain. So why should I pine away
in Salzburg for the sake of 400 gulden,2 linger on without
remuneration or encouragement and be of no use to you
in any way, when I can certainly help you here? What
would be the end of it? Always the same. I should have
to endure one insult after another or go away again. I
need say no more, for you know it yourself. But this I
must tell you, (that everyone in Vienna has already heard
my story. All the nobility are urging me not to let myself
be made a fool of.) Dearest father, people (will come to
you with fair words, but they are serpents and vipers.)
All base people are thus — disgustingly proud and
haughty, (yet always ready to crawl.) How horrible!
The two (private valets have seen through the whole
swinishness), and Schlauka in particular said to someone:
"As for me, (I really cannot think that Mozart is wrong —
in fact, I think he is quite right. I should like to have seen
the Archbishop treat me in the same way. Why, he spoke
to him as if he were some beggarly fellow.) I heard him —
(infamous it was!" The Archbishop acknowledges that he
has been unjust,) but has he not had frequent occasion to
(acknowledge it?) Has he (reformed?) Not a bit. $o let us
have done with him. If I had (not been afraid of injuring
1 April 1772. * Seep, 1082, n. 2.

1087

L.404 MOZART TO HIS FATHER 1781

you,) things would have been <on a very different footing)
long ago. But after all what can he <do to you? — Nothing.
Once you know that all is going well with me, you can
easily dispense with the Archbishop's favour. He cannot
deprive you of your salary, and besides you always do
your duty.) I pledge myself (to succeed.) Otherwise I
(should never have taken this step,) although I must
confess that after that insult, I should have gone off even
if I had had to beg. For who will let himself be bullied,
especially when he can do far better? So, if you (are
afraid, pretend to be angry with me, scold me roundly in
your letters, provided that we two know how things really
are between us. But do not let yourself be won over by
flatteries — and be on your guard.) Adieu. I kiss your
hands a thousand times and embrace my dear sister with
all my heart. By the next occasion I shall send you the
portrait,1 the ribbons, the fichu and everything else. Adieu.
I am ever your most obedient son

WOLFGANG AMADE MOZART

My compliments to all Salzburg, and especially to
Katherl and Marchand.

(404) Mozart to his Father

[Autograph in the Mozarteum, Salzburg}

MON TRES CHER PERE! VlENNE, ce 1 6 de may, 1781

I could hardly have supposed otherwise than that in
the heat of the moment you would have written just such
a letter as I have been obliged to read, for the event must
have taken you by surprise (especially as you were
actually expecting my arrival). But by this time you must

1 If this is a portrait of Mozart, it has completely disappeared. Possibly
it was a portrait of his father, painted by Madame Rosa. See Letter 413.

1088

STEPHANIE DER JUNGERE

From an engraving by J. E. Mansfeld after a portrait by Josef Lange
(Nationalbibliothek, Vienna)

1781 MOZART TO HIS FATHER L. 404

have considered the matter more carefully and, as a man
of honour, you must feel the insult more strongly, and
must know and realise that (what you have thought likely
to happen, has happened already. It is always more diffi
cult to get away in Salzburg, for there he is lord and
master, but here he is — a nobody, an underling, just as I
am in his eyes.) Besides, pray believe me when I say that
I know you and know (the strength of my affection) for
you. Even if (the Archbishop had given me another two
hundred gulden,) — and I — I had agreed — we should
have had the (same old story) over again. Believe me,
most beloved father, I need all my manliness to write to
you what common sense dictates. God knows how hard it
is for me to leave you; but, even if I had to beg, I could
never serve such a master again; for, as long as I live, I
shall never forget what has happened, I implore you, I
adjure you, by all you hold dear in this world, to strengthen
me in this resolution instead of trying to dissuade me from
it, for if you do you will only make me unproductive. (My
desire and my hope is to gain honour, fame and money,)
and I have every confidence that I shall be (more useful to
you in Vienna than if I were to return to Salzburg. The
road to Prague)1 is now less closed to me than (if I were in
Salzburg.) What you (say about the Webers,) I do assure
you is not true. I was a fool, I admit, about Aloysia
Lange,2 but what does not a man do (when he is in love?)
Indeed I loved her truly, and even now I feel that she is
not a matter of indifference to me. It is, therefore, a good
thing, for me that her husband is a jealous fool and lets
her go nowhere, so that I seldom have an opportunity of

1 Through his friendship with the Duscheks Mozart had already established
a connection with Prague, which was renowned for its musical activities.

* Aloysia Weber had married in October 1780 Josef Lange (1751-1831),
an excellent actor and a talented portrait-painter. For an interesting account
of Lange's connection with the Webers see Bliimml, p. 21 f.

VOL. Ill 1089 * D

L. 405 MOZART TO HIS FATHER 1781

seeing her. Believe me when I say that (old Madame
Weber is a very obliging woman) and that I cannot do
enough for her in return for her kindness, as unfortun
ately I have no time to do so. Well, I am longing for a
letter from you, my dearest and most beloved father.
Cheer up your son, for it is only the thought of dis
pleasing you that can make him unhappy in his very
promising circumstances. Adieu. A thousand farewells.
I am ever, and I kiss your hands a thousand times as,
your most obedient son

W. A. MZT.

P.S. — If you should imagine that I am staying here
merely out of hatred for Salzburg and an unreasonable
love for Vienna, then make enquiries. Herr von (Strack,1)
a very good friend of mine, will, as a man of honour,
certainly tell you the truth.

(405) Mozart to his Father

[Autograph in the Mozarteum, Salzburg]

MON TRES CHER P&RE! VlENNE, ce 1 9 de may, 1781

I too do not know how to begin this letter,2 my
dearest father, for I have not yet recovered from my
astonishment and shall never be able to do so, if you
continue to think and to write as you do. I must confess
that there is not a single touch in your letter by which I
recognise my father! I see a father, indeed, but not that
most beloved and most loving father, who cares for his
own honour and for that of his children — in short, not my
father. But it must have been a dream. You are awake
now and need no reply from me to your points in order to

1 Joseph von Strack, an influential chamberlain of the Emperor Joseph II.
* Mozart is obviously quoting the opening sentence of his father's last
letter.

1090

ij8i MOZART TO HIS FATHER L. 405

be fully convinced that — now more than ever — I can
never abandon my resolve. Yet, because in certain
passages my honour and my character are most cruelly
assailed, I must reply to these points. You say that you
can never approve of my having tendered my resignation
while I was in Vienna.1 I should have thought that if I
wished to do so (although at the time I did not, or I
should have done so on the first occasion) the most
sensible thing was to do it in a place where I had a good
standing and the finest prospects in the world. It is pos
sible that you will not approve this in the presence of
the Archbishop, but to me you cannot but applaud my
action. You say that the only way to save my honour is
to abandon my resolve. How can you perpetrate such a
contradiction! When you wrote this you surely did not
bear in mind that such a recantation would prove me to be
the basest fellow in the world. All Vienna knows that
I have left the Archbishop, and all Vienna knows the
reason! Everyone knows that it was because my honour
was insulted — and, what is more, insulted three times.
And am I publicly to prove the contrary? Am I to make
myself out to be a cowardly sneak and the Archbishop a
worthy prince? No one would like to do the former, and I
least of all; and the latter God alone can accomplish, if it
be His will to enlighten him. You say that I have never
shown you any affection and therefore ought now to show
it for the first time. Can you really say this? You add that
I will never sacrifice any of my pleasures for your sake.
But what pleasures have I here? The pleasure of taking
trouble and pains to fill my purse? You seem to think that

1 From now on Mozart, feeling that he has completely shaken off the Arch
bishop's fetters, ceases to use cypher, except on very rare occasions. That the
Archbishop still continued to read his letters is evident from occasional
references in Leopold Mozart's letters to Nannerl after her marriage in
1784. See Deutsch-Paumgartner: Leopold Mozarts Brief e an seine TochUr,
1936, p. 241 f.

1091

L. 405 MOZART TO HIS FATHER 1781

I am revelling in pleasures and amusements. Oh, how
you deceive yourself indeed! That is, as to the present —
for at present I have only just as much money as I need.
But the subscription for my six sonatas1 has been started
and then I shall have some money. It is all right, too,
about the opera,2 and in Advent I am to give a concert;
then things will continue to improve, for in the winter
season a fine sum can be made here. If you call it
pleasure to be rid of a prince, who does not pay a
fellow and bullies him to death, then it is true that my
pleasure is great. If I were to do nothing but think and
work from early morning till late at night, I would gladly
do so, rather than depend upon the favour of such a — I
dare not call him by his right name. I have been forced
to take this step, so I cannot deviate from my course by
a hair's breadth — it is quite impossible! All that I can
say to you is this, that on your account — but solely on
your account, my father — I am very sorry that I was
driven to take this step, and that I wish that the Arch
bishop had acted more judiciously, if only in order that
I might have been able to devote my whole life to you.
To please you, my most beloved father, I would sacrifice
my happiness, my health and my life. But my honour —
that I prize, and you too must prize it, above everything.
You may show this to Count Arco and to all Salzburg
too. After that insult, that threefold insult, were the
Archbishop to offer me 1200 gulden in person, I would
not accept them. I am no skunk, no rascal; and, had it
not been for you, I should not have waited for him to say
to me for the third time, "Clear out of this" , without
taking him at his word! What am I saying? Waited! Why,

1 K. 296, written in 1778 at Mannheim for Mozart's pupil Therese
Pierron Serrarius, and K. 376-380, four of which were written in 1781.
These are violin and clavier sonatas, which Mozart subsequently dedicated
to his pupil Josephine Aurnhammer. They were published in November
1781 by Artaria and Co. 3 See p. 1078.

1092

ij8i MOZART TO HIS FATHER L. 406

I should have said it, and not he\ I am only surprised that
the Archbishop should have behaved with so little dis
cretion, particularly in a place like Vienna! Well, he will
see that he has made a mistake. Prince Breuner and
Count Arco need the Archbishop, but I do not; and if
the worst comes to the worst and he forgets all the duties
of a prince — of a spiritual prince — then come and join me
in Vienna. You can get four hundred gulden anywhere.
Just imagine how he would disgrace himself in the eyes
of the Emperor, who already hates him, if he were to do
that! My sister too would get on much better in Vienna
than in Salzburg. There are many distinguished families
here who hesitate to engage a male teacher, but would
give handsome terms to a woman. Well, all these things
may happen some day. By the next occasion, it may
be when Herr von Kleinmayr, Bonike or Zetti go to
Salzburg, I shall send you a sum with which to pay the
debt to which you refer. The controleur, who left to-day,
will bring the lawn for my sister. Dearest, most beloved
father, ask of me what you will, only not that — anything
but that — the mere thought of it makes me tremble with
rage. Adieu. I kiss your hands a thousand times and
embrace my sister with all my heart and am ever your
most obedient son

WOLFGANG AMADE MOZART

(406) Mozart to his Father

[Autograph in the Mozarteum, Salzburg}
VIENNA, May 26th. VIENNE, ce 6 de may, 1781 *

MON TRES CHER P^Rs!

You are quite right, and I am quite right too, my
dearest father! I know and am aware of all my faults; but

1 The double dating of the autograph is explained by the fact that Mozart
used a sheet of paper on which he had begun a letter to his father on May 6th.

1093

L. 406 MOZART TO HIS FATHER 1781

— is it impossible for a man to reform? May he not have
reformed already? The more I consider the whole ques
tion, the more I realise that the best way for me to serve
myself and you, my most beloved father, as well as my
dear sister, is to stay in Vienna. It seems as if good
fortune is about to welcome me here, and now I feel that
I must stay. Indeed, I felt that when I left Munich. With
out knowing why, I looked forward most eagerly to
Vienna. You must be patient for a little while longer and
then I shall be able to prove to you how useful Vienna is
going to be to us all. Believe me when I say that I have
changed completely. Apart from my health I now think
that there is nothing so indispensable as money. I am
certainly no skinflint and it would be very difficult for me
to become one. Yet people here think that I am more dis
posed to be mean than to spend freely — and surely that
is enough to begin with. As for pupils, I can have as many
as I want, but I do not choose to take many. I intend to
be paid better than others, and so I prefer to have fewer
pupils. It is advisable to get on your high horse a little
at first, otherwise you are done for and must follow the
common highway with the rest. The subscription I is
going on well; and as for the opera I don't know why I
should hesitate. Count Rosenberg,2 on the two occasions
when I called on him, received me most politely; and he
heard my opera3 at Countess Thun's, when Van Swieten4

1 For his violin and clavier sonatas. See p. 1092, n. i.

2 Cp. p. 1063, n. 3.

3 "Idomeneo".

4 Baron Gottfried van Swieten (1734-1803), son of the Empress Maria
Theresa's famous private physician Gerhard van Swieten, was born in
Leyden and taken to Vienna in 1745. In *768 he accompanied the Duke of
Braganza on his many travels, then entered the Austrian diplomatic service
and was Imperial Ambassador at Brussels, Paris, Warsaw, and from 1771 to
1778 in Berlin, where he had ample opportunity of indulging his great love
of music. In 1778 he returned to Vienna and was made Director of the Court
Library, and in 1781 President of the Court Commission on Education. His
house was the meeting-place of writers, artists and musicians, and it was

1094

1781 MOZART TO HIS FATHER Z. 406

and Herr von Sonnenfels1 were also present. And as
(Stephanie) is a good friend of mine, everything is pro
gressing satisfactorily. Believe me when I say that I do
not like to be idle but to work. I confess that in Salzburg
work was a burden to me and that I could hardly ever
settle down to it. But why? Because I was never happy.
You yourself must admit that in Salzburg — for me at
least — there is not a farthing's worth of entertainment. /
refuse to associate with a good many people there — and
most of the others do not think me good enough. Besides,
there is no stimulus for my talent! When I play or when
any of my compositions are performed, it is just as if the
audience were all tables and chairs. If only there were
even a tolerably good theatre in Salzburg! For in Vienna
my sole amusement is the theatre. It is true that in
Munich, without wishing to do so, I put myself in a
false light as far as you were concerned, for I amused
myself too much. But I swear to you on my honour that
until the first performance of my opera 2 1 had never been
to a theatre, or gone anywhere but to the Cannabichs'.
It is true that during the last few days I had to compose
the greater and most difficult part of my opera; yet this
was not from laziness or negligence — but because I had
spent a fortnight without writing a note, simply because
I found it impossible to do so. Of course I composed a
lot, but wrote down nothing. I admit that I lost a great
deal of time in this way, but I do not regret it. That I was
afterwards too gay was only due to youthful folly. I
thought to myself, where are you going to? To Salzburg!

there that Mozart deepened his knowledge particularly of Handel and
Johann Sebastian Bach. See Abert, vol. ii. p. 86, and an article by R.
Bernhardt in Der Bar, 1929-1930, pp. 74-166.

1 Josef von Sonnenfels (1733-1817), Professor at the University of Vienna,
was a well-known dramatist and writer and a leader of the "Aufklarung"
in Austria. He is commonly known as the "Austrian Lessing".

2 "Idomeneo", the first performance of which was on January 29th, 1781.

1095

L. 407 MOZART TO HIS FATHER 1781

Well, you must have a good time. It is quite certain that
when I am in Salzburg I long for a hundred amuse
ments, but here not for a single one. For just to be in
Vienna is in itself entertainment enough. Do have con
fidence in me; I am no longer a fool, and still less can you
believe that I am either a godless or an ungrateful son.
So rely absolutely on my brains and my good heart, and
you will never regret it. Why, where could I have learnt
the value of money, when up to the present I have had
so little to handle? All I know is that once when I had
twenty ducats, I considered myself wealthy. Necessity
alone teaches one to value money.

Farewell, dearest, most beloved father! My duty now
is to make good and to replace by my care and industry
what you think you have lost by this affair. This I shall
certainly do and with a thousand thrills of delight. Adieu.
I kiss your hands a thousand times and embrace my sister
with all my heart, and am ever your most obedient son

WOLFGANG AMADE MOZART

P.S. — So soon as one of the Archbishop's people goes
to Salzburg, I shall send the portrait. Ho fatto fare la
soprascritta da un altro espressamente, perche non si pu6
sapere I — for who would trust a knave?

My greetings to all my acquaintances.

(407) Mozart to his Father

[Autograph in the Mozarteum, Salzburg]

VIENNA, between May 26th and June 2nd> 1781
MON TRES CHER PERE!

The day before yesterday Count Arco sent me a
message to call on him at noon, saying that he would

1 I have got somebody else to write the address on purpose, for you never
can tell.

1096

1781 MOZART TO HIS FATHER L. 407

expect me at that hour. He has often sent me this kind
of message, and so has Schlauka. But as I detest dis
cussions, in which every word to which I have to listen
is a lie, I have always avoided going. And this time too I
should have done the same, if he had not added that he
had had a letter from you. I therefore went. It would be
impossible to repeat the whole conversation, which was
conducted in a very calm tone and, at my urgent request,
without irritation on either side. In short, he put every
thing before me in so friendly a manner that really I could
have sworn that what he said came altogether from his
heart. I think, however, that he would not be prepared to
swear that the same was true of myself. In answer to his
plausible speeches I told him the whole truth with all
possible calmness and courtesy and in the most charming
manner in the world; and he could not find a word to say
against it. The result was that I tried to make him take
my memorandum and my travelling expenses, both of
which I had brought with me. But he assured me that it
would be too distressing for him to interfere in this matter
and that I had better give the document to one of the
valets; and as for the money, he would not take it until the
whole affair was settled. The Archbishop runs me down
to everyone here and has not the sense to see that such a
proceeding does him no credit; for I am more highly
respected in Vienna than he is. He is only known as a
presumptuous, conceited ecclesiastic, who despises every
one here, whereas I am considered a very amiable person.
It is true that I become proud when I see that someone is
trying to treat me with contempt and en bagatelle] and
that is the way in which the Archbishop invariably treats
me; whereas by kind words he could have made me do
as he pleased. I told this too to the Count and added
among other things that the Archbishop did not deserve
the good opinion you had of him. And towards the end I

1097

L. 408 MOZART TO HIS FATHER 1781

said: "Besides, what good would it do, if I were to go
home now? In a few months' time and even if I did not
receive any fresh insult, I should still ask for my discharge,
for I cannot and will not serve any longer for such a
salary/' "And pray why not?" "Because", said I, "I
could never live happily and contentedly in a place where
I am so badly paid that I am constantly thinking, 'Ah, if
only I were there! or there!' But if I were paid such a
salary that I should not be tempted to think of other
places, then I should be perfectly satisfied. And if the
Archbishop chooses to pay me that salary, well, then, I
am ready to set off to-day." But how delighted I am that
the Archbishop does not take me at my word! For there
is no doubt, as you will see, that my being here is both to
your advantage and to my own. Now farewell, my dearest,
most beloved father. All will go well yet. I am not writing
in a dream, for my own welfare also depends on it. Adieu.
I kiss your hands a thousand times and embrace my
dearest sister most cordially and am ever your most
obedient son

WOLFGANG ADE MOZART

P.S. — My compliments to all my good friends.

(408) Mozart to his Father

[Autograph in the Mozarteum, Salzburg\

MON TR£S CHER P^Rs! VlENNE, ce 2 de juin, 1781

You will have gathered from my last letter that I
have spoken to Count Arco himself. Praise and thanks be
to God that everything has passed off so well! Do not be
anxious; you have nothing whatever (to fear) from (the
Archbishop,) for Count Arco did not say a single word
to suggest that I ought to take care or the affair {might

1098

1781 MOZART TO HIS FATHER L. 408

injure you.} When he told me that you had written to him
and had complained bitterly about me, I immediately
interrupted him and said: "And have / not heard from
him too? He has written to me in such a strain that / have
often thought I should go crazy. But> however much I re
flect, I simply cannot, etc'' Upon which he said: "Believe
me, you allow yourself to be far too easily dazzled in
Vienna. A man's reputation here lasts a very short time.
At first, it is true, you are overwhelmed with praises and
make a great deal of money into the bargain — but how
long does that last? After a few months the Viennese want
something new/' "You are right, Count/' I replied.
"But do you suppose that I mean to settle in Vienna?
Not at all. I know where I shall go. That this affair should
have occurred in Vienna is the Archbishop's fault and not
mine. If he knew how to treat people of talent, it would
never have happened. I am the best-tempered fellow in
the world, Count Arco, provided that people are the same
with me." "Well," he said, "the Archbishop considers
you a dreadfully conceited person." "I daresay he does,"
I rejoined, "and indeed I am so towards him. I treat
people as they treat me. When I see that someone despises
me and treats me with contempt, I can be as proud as a
peacock." Among other things he asked me whether I did
not think that he too often had to swallow very disagree
able words. I shrugged my shoulders and said: "You no
doubt have your reasons for putting up with it, and I —
have my reasons for refusing to do so". All the rest you
will know from my last letter. Do not doubt, dearest and
most beloved father, that everything will certainly turn
out for my good and consequently for yours also. It is
perfectly true that the Viennese are apt to change their
affections, but only in the theatre] and my special line is
too popular not to enable me to support myself. Vienna
is certainly the land of the clavier! And, even granted that

1099

L. 409 MOZART TO HIS FATHER 1781

they do get tired of me, they will not do so for a few years,
certainly not before then. In the meantime I shall have
gained both honour and money. There are many other
places; and who can tell what opportunities may not occur
before then? Through Herr von Zetti, to whom I have
already spoken, I am sending you a small sum. You must
be content with very little this time, for I cannot let you
have more than thirty ducats. Had I foreseen this event,
I should have taken the pupils who wanted to come to
me. But at that time I thought I should be leaving in a
week, and now they are in the country. The portrait will
also follow.1 If Zetti cannot take it, I shall send it by the
mail coach. Now farewell, dearest, most beloved father. I
kiss your hands a thousand times and embrace my sister
with all my heart and am ever your most obedient son

WOLFGANG AMADE MOZART

My greetings to all my good friends. I shall reply to
Ceccarelli shortly.

(409) Mozart to his Father

[Autograph in the Mozarteum, Salzburg]

MON TRES CHER PERE! VIENNE, ce 9 dejuiny 1781

Well, Count Arco has made a nice mess of things!
So that is the way to persuade people and to attract them!
To refuse petitions from innate stupidity, not to say a
word to your master from lack of courage and love of
toadyism, to keep a fellow dangling about for four weeks,
and finally, when he is obliged to present the petition in
person, instead of at least granting him admittance, to
throw him out of the room and give him a kick on his
behind — that is the Count, who, according to your last

1 See p. 1088, n. i.
1 100

Ij8i MOZART TO HIS FATHER 1. 409

letter, has my interest so much at heart — and that is the
court where I ought to go on serving — the place where
whoever wants to make a written application, instead of
having its delivery facilitated, is treated in this fashion!
The scene took place in the antechamber. So the only
thing to do was to decamp and take to my heels — for,
although Arco had already done so, I did not wish to
show disrespect to the Prince's apartments. I have written
three memoranda, which I have handed in five times; and
each time they have been thrown back at me. I have care
fully preserved them, and whoever wishes to read them
may do so and convince himself that they do not contain
the slightest personal remark. When at last I was handed
back my memorandum in the evening through Herr von
Kleinmayr (for that is his office), I was beside myself with
rage, as the Archbishop's departure was fixed for the
following day. I could not let him leave thus and, as I
had heard from Arco (or so at least he had told me) that
the Prince knew nothing about it, I realised how angry
he would be with me for staying on so long and then at
the very last moment appearing with a petition of this
kind. I therefore wrote another memorandum, in which I
explained to the Archbishop that it was now four weeks
since I had drawn up a petition, but, finding myself for
some unknown reason always put off, I was now obliged
to present it to him in person, though at the very last
moment. This memorandum procured me my dismissal
from his service in the most pleasant way imaginable.
For who knows whether the whole thing was not done at
the command of the Archbishop himself? If Herr von
Kleinmayr still wishes to maintain the character of an
honest man, he can testify, as can also the Archbishop's
servants, that his command was carried out. So now I
need not send in any petition, for the affair is at an end.
I do not want to write anything more on the subject, and

IIOI

Z. 409 MOZART TO HIS FATHER 1781

if the Archbishop were to offer me a salary of 1200 gulden,
I would not accept it after such treatment. How easy it
would have been to persuade me to remain! By kindness,
but not by insolence and rudeness. I sent a message to
Count Arco saying that I had nothing more to say to him.
For he went for me 50 rudely when I first saw him and
treated me as if I were a rogue, which he had no right
to do. And — by Heaven! as I have already told you, I
would not have gone to him the last time, if in his message
he had not added that he had had a letter from you. Well,
that will be the last time. What is it to him if I wish to
get my discharge? And if he was really so well disposed
towards me, he ought to have reasoned quietly with me —
or have let things take their course, rather than throw
such words about as "clown" and "knave" and hoof a
fellow out of the room with a kick on his arse; but I am.
forgetting that this was probably done by order of our
worthy Prince Archbishop.

I shall reply very briefly to your letter, for I am so sick
of the whole affair that I never want to hear anything
more about it. In view of the original cause of my leaving
(which you know well), no father would dream of being
angry with his son; on the contrary, he would be angry if
his son had not left. Still less ought you to have been angry,
{as you knew that even without any particular cause I
definitely wanted to leave. Really, you cannot be in
earnest;) and I am therefore led to suppose that (you are
driven to adopt this attitude on account of the court.)
B ut I beg you, most beloved father, <not to cringe too much;
for the Archbishop cannot do you any harm.) Let him
try! I almost wish he would; for that would be a deed, a
fresh deed, (which would ruin him completely with the
Emperor, who, as it is, not only does not like him, but
positively detests him.) If after (such treatment you were
to come to Vienna and tell the story to the Emperor,)

1102

1781 MOZART TO HIS FATHER Z. 409

you would at all events receive (from him the salary you
are drawing at present,) for in such cases (the Emperor)
behaves most admirably. Your comparison of me to
Madame Lange I positively amazed me and made me
feel distressed for the rest of the day. That girl lived on her
parents as long as she could earn nothing for herself. But
as soon as the time came when she could show them her
gratitude (remember that her father died before she had
earned anything in Vienna),2 she deserted her poor
mother, attached herself to an actor and married him — and
her mother has never had a farthing from her. Good God!
He knows that my sole aim is to help you and to help us
all. Must I repeat it a hundred times that I can be of more
use to you here than in Salzburg? I implore you, dearest,
most beloved father, for the future to spare me such letters.
I entreat you to do so, for they only irritate my mind and
disturb my heart and spirit; and I, who must now keep on
composing, need a cheerful mind and a calm disposition.
The Emperor is not here, nor is Count Rosenberg. The
latter has commissioned Schroder3 (the eminent actor)
to look around for a good libretto and to give it to me to
compose.

Herr von Zetti has had to leave unexpectedly by com
mand and has set off so very early that I can neither send
the portrait, nor the ribbons for my sister, nor the other
thing you know of 4 until to-morrow week by the mail
coach.

Now farewell, dearest, most beloved father! I kiss your
hands a thousand times and embrace my dear sister most
cordially and am ever your most obedient son

WOLFGANG AMADE MOZART

1 Aloysia Weber. See p. 1089, n. 2.

2 Cp. p. 1081, n. i.

3 Friedrich Ludwig Schroder (1744-1816), the famous Viennese actor,
who translated, adapted and produced Shakespeare's plays.

4 The thirty ducats. See p. uoo.

1103

Z. 410 MOZART TO HIS FATHER 1781

(410) Mozart to his Father

[Autograph in the Mozarteum, Salzburg]
MON TR&S CHER P£RE! VlENNE, ce 13 de Juin, 1781

Most beloved of all fathers! How gladly would I not
continue to sacrifice my best years to you in a place where
I am so badly paid — if my salary were the only drawback!
But to be badly paid and to be scoffed at, despised and
bullied into the bargain — is really too much. For the
Archbishop's concert I composed a sonata for myself, a
rondo for Brunetti and one for Ceccarelli.1 At each concert
I played twice and the last time when the concert was over
I went on playing variations2 (for which the Archbishop
gave me the theme) for a whole hour and with such
general applause that if the Archbishop had any vestige
of humanity, he must have felt delighted. But, instead
of showing me — or not showing me, for all I care — his
pleasure and satisfaction, he treats me like a street urchin
and tells me to my face to clear out, adding that he can
-get hundreds to serve him better than I — and why? Just
because I could not set off from Vienna on the very day
which he had chosen. I had to leave his house, live at my
own expense and yet not be at liberty to delay my de
parture until my purse should permit me to travel. Besides,
I was not needed in Salzburg and the whole difference
was a matter of two days. The Archbishop on two occa
sions said the most insulting things to me and I never
said a word in reply. Nay, what is more, I played at his
concert with the same zeal and assiduity as if nothing had
happened; and instead of acknowledging my readiness to

1 K. 379. 373 and 374. See p. 1072 f.

2 During the summer of 1781 Mozart wrote three sets of clavier variations,
two with violin accompaniment, K. 359, 360 and 352. Possibly it was the
theme of one of these that the Archbishop suggested.

1104

1781 MOZART TO HIS FATHER L. 410

serve him and my endeavour to please him, he behaves
for the third time, and at the very moment when I am
expecting something quite different, in the most disgrace
ful way imaginable; and, moreover, that I should not be
in the wrong, but absolutely in the right, he acts as if he
were resolved to get rid of me by force. Well, if he does
not want me, that is exactly what I wish. Instead of
taking my petition or procuring me an audience or
advising me to send in the document later or persuading
me to let the matter lie and to consider things more care
fully, — enfin, whatever he wanted — Count Arco hurls me
out of the room and gives me a kick on my behind. Well,
that means in our language that Salzburg is no longer the
place for me, except to give me a favourable opportunity
of returning the Count's kick, even if it should have to be
in the public street. I am not demanding any satisfaction
from the Archbishop, for he cannot procure it for me in
the way in which I intend to obtain it myself. But one of
these days I shall write to the Count and tell him what
he may confidently expect from me, as soon as my good
fortune allows me to meet him, wherever it may be, —
provided it is not in a place that I am bound to respect.
Do not be anxious, most beloved father, about the welfare
of my soul. I am as liable to err as any young man, but for
my own consolation I could wish that all were as free
from sin as I am. Probably you believe things of me of
which I am not guilty. My chief fault is that— judging by
appearances — I do not always act as I should. It is not
true that I boasted of eating meat on all fast-days; but I
did say that I did not scruple to do so or consider it a sin,
for I take fasting to mean abstaining, that is, eating less
than usual. I attend mass every Sunday and every holy
day and, if I can manage it, on weekdays also, and that
you know, my father. The only association which I had
with the person of ill repute was at the ball, and I
VOL. m 1105 E

Z. 411 MOZART TO HIS FATHER 1781

talked to her long before I knew what she was, and solely
because I wanted to be sure of having a partner for the
contredanse. Afterwards I could not desert her all at once
without giving her the reason; and who would say such a
thing to a person's face? But in the end did I not on
several occasions leave her in the lurch and dance with
others? On this account too I was positively delighted
when the carnival was over. Moreover, no one, unless
he is a liar, can say that I ever saw her anywhere
else, or went to her house. Do rest assured that I really
hold to my religion; and should I ever have the misfortune
(which God forbid!) to fall into evil courses, I shall
absolve you, my most beloved father, from all responsi
bility. For in that case I alone should be the villain, as
I have you to thank for all good things and for both my
temporal and spiritual welfare and salvation. Well, I
must close, or I shall miss the post. I kiss your hands a
thousand times and embrace my sister most cordially and
am ever your most obedient son

WOLFGANG AMADE MOZART

P.S. — My greetings to young Marchand, to Katherl
and to all my good friends.

(411) Mozart to his Father

\Autograph in the Mozarteum, Salzburg}

MON TR£S CHER P£RE! VIENNE, ce ibdejuin, 1781

To-morrow the portrait and the ribbons for my sister
will sail off to Salzburg. I do not know whether the ribbons
will be to her taste; but I assure her that they are in the
latest fashion. If she would like to have some more or
perhaps some which are not painted, she has only to let
me know, and if there is anything else which she thinks

1106

1781 MOZART TO HIS FATHER

can be got better in Vienna, she has only to write to me.
I hope that she did not pay for the fichu, as it was paid for
already. I forgot to mention this when writing, probably
because I had so much to tell you about that accursed
affair. I shall remit the money in the way you have
directed.

Well, at last I can tell you something more about
Vienna. Up to the present I have had to fill my letters
with that swinish story. Thank God, it is over. The present
season is, as you know, the worst for anyone who wants to
make money. The most distinguished families are in the
country. So all I can do is to work hard in preparation for
the winter, when I shall have less time to compose. As
soon as the sonatas are finished,1 I shall look about for a
short Italian cantata and set it to music,2 so that it may be
produced at the theatre in Advent — for my benefit, of
course. There is a little cunning in this, for then I can
give it twice and make the same profit each time, since,
when it is performed for the second time, I shall play
something on a pianoforte. At present I have only one
pupil, Countess Rumbeck,3 Cobenzl's cousin. I could have
many more, it is true, if I chose to lower my terms, but by
doing so, I should lose credit. My terms are six ducats for
twelve lessons and even then I make it clearly understood
that I am giving them as a favour. I would rather have
three pupils who pay me well than six who pay badly.
With this one pupil I can just make both ends meet, and
that is enough for the present. I simply mention this in
order that you may not think me guilty of selfishness in
sending you only thirty ducats. Believe me, I would
gladly deprive myself of everything, if only I had it!

1 K. 376, 377 and 380.

> 2 According to Mozart's letter of August ist, 1781 (see p. 1123), Rossi
provided the words for this cantata. Nothing more is known of this com
position. See Kochel, p. 474.

3 Countess Maria Karoline Thiennes De Rumbeck (1755-1812).

Z. 411 MOZART TO HIS FATHER 1781

But things are bound to improve. We must never let
people know how we really stand financially.

Well, let us talk about the theatre. I think I mentioned
the other day that before his departure Count Rosenberg
commissioned Schroder to hunt up a libretto for me. It
has now been found, and Stephanie junior, who is manager
of the opera, has got it. Bergopzoomer, a really good
friend of Schroder's and of mine, gave me the hint at once.
So off I went to Stephanie, en forme de visite. For we
thought it possible that his partiality for Umlauf l might
make him play me false. This suspicion proved, however,
quite unfounded. For I heard afterwards that he had
commissioned someone to ask me to go and see him, as
there was something he wished to discuss with me. And
the moment I entered his room, he said: "Ah, you are
just the very person I wanted to see". The opera is in four
acts; and he tells me that the first act is exceedingly fine,
but that the rest is on a much lower level. If Schroder
allows us to alter it as we think advisable, a good libretto
can be made out of it. He does not want to give it to the
management in its present state, that is, until he has
discussed it with Schroder, as he knows in advance that
it would be rejected. So the two of them can settle the
matter between them. After what Stephanie told me, I
did not express any desire to read it. For, if I do not like
it, I must say so plainly, or I should be the victim.
Besides, I do not want to lose the favour of Schroder,
who has the greatest respect for me. Therefore I can
always make the excuse that I have not read it.

Well, I must now explain why we were suspicious of
Stephanie. I regret to say that the fellow has the worst

1 Ignaz Umlauf (1746-1796), a popular operatic composer. In 1772 he
joined the orchestra at the Viennese Opera as viola-player and in 1778, after
the great success of his light opera "Die Bergknappen", he was made
musical director of the Opera. In 1789 he was appointed deputy to Salieri
as conductor of the Imperial court orchestra.

1108

ij8i MOZART TO HIS FATHER L. 411

reputation in Vienna, for he is said to be rude, false and
slanderous and to treat people most unjustly. But I pay no
attention to these reports. There may be some truth in
them, for everyone abuses him. On the other hand, he is in
great favour with the Emperor. He was most friendly to
me the very first time we met, and said: "We are old
friends already and I shall be delighted if it be in my
power to render you any service". I believe and hope
too that he himself may write an opera libretto for me.
Whether he has written his plays alone or with the help
of others, whether he has plagiarised or created, he still
understands the stage, and his plays are invariably
popular. I have only seen two new pieces of his, and these
are certainly excellent, the first being "Das Loch in der
Tiire",1 and the second "Der Oberamtmann und die
Soldaten".2 Meanwhile I am going to set the cantata to
music; for even if I had a libretto, I would not put pen to
paper, as Count Rosenberg is not here; and if at the last
moment he did not approve of it, I should have had the
honour of composing for nothing* None of that for me,
thank you! I have not the slightest doubt about the
success of the opera, provided the text is a good one. For
do you really suppose that I should write an opera comique
in the same style as an opera seria? There should be as
little frivolity in an opera seria and as much seriousness
and solidity as there should be little seriousness in an
opera buffa, and the more frivolity and gaiety. That
people like to have a little comic music in an opera seria,
I cannot help. But in Vienna they make the proper
distinction on this point. I do certainly find that in
music the Merry Andrew has not yet been banished, and
in this respect the French are right. I hope to receive my

1 A comedy by Gottlieb Stephanie.

2 "Der Oberamtmann und die Soldaten" was a free adaptation by Gottlieb
Stephanie of a similar piece by Calderon. It was set to music later by Umlauf
and performed in 1782.

1109

L. 412 MOZART TO HIS FATHER 1781

clothes safely by the next mail coach. I do not know when
it goes, but as I think this letter will reach you first, I beg
you to keep the stick for me. People carry sticks here, but
for what purpose? To walk with, and for that purpose
any little stick will do. So please use the stick instead
of me, and always carry it if you can. Who knows
whether in your hand it may not avenge its former master
on Arco? I mean, of course, accidentaliter ', or by chance.
That arrogant jackass will certainly get a very palpable
reply from me, even if he has to wait twenty years for it.
For to see him and to return his kick will be one and the
same thing, unless I am so unlucky as to meet him first in
some sacred place.

Well, adieu. Farewell. I kiss your hands a thousand
times and embrace my sister with all my heart and am
ever your most obedient son

W. A. MZT.

My greetings everywhere.

(412) Mozart to his Father

\Autograph in the Mozarteum, Salzburg]

MON TRES CHER P&RE! VlENNE, ce 2O de juin,

I have received the parcel, and hope that by now
you have got the portrait and the ribbons. I do not know
why you did not pack everything together in a trunk or a
chest, for it costs more to send things one by one, as you
have to pay for each article separately, than to send one
big package. I can well believe that the court flunkeys
are eyeing you askance, but why should you worry about
such miserable menials? The more hostile these people are
to you, the more proudly, and contemptuously you must
treat them.

1781 MOZART TO HIS FATHER L. 413

As for Arco, I have but to consult my own feelings and
judgment and therefore do not need the advice of a lady
or a -person of rank to help me to do what is right and
fitting, and neither too much nor too little. It is the heart
that ennobles a man; and though I am no count, yet I
have probably more honour in me than many a count.
Whether a man be count or valet, the moment he insults
me, he is a scoundrel. I intend at first to tell him quite
reasonably how badly and clumsily he has played his
part. But in conclusion I shall feel bound to assure him in
writing that he may confidently expect from me a kick on
his behind and a few boxes on the ear in addition. For
when I am insulted, I must have my revenge; and if I do
no more than was done to me, I shall only be getting even
with him and not punishing him. Besides, I should be
placing myself on a level with him, and really I am too
proud to measure myself with such a stupid booby.

Unless I have something particularly important to tell
you, I shall only write to you once a week, as I am very
busy just now. I must close this letter, as I have some
variations to finish for my pupil.1 Adieu. I kiss your hands
a thousand times and embrace my sister with all my heart
and am ever 2

(413) Mozart to his Father

[Autograph in the Mozarteum, Salzburg]
MON TRES CHER PERE! VlENNE, ce 27 de juin> 1781

As for Madame Rosa I must tell you that I called on
her three times until at last I had the good fortune to find
her at home. You would hardly recognise her, she has got

* Countess Rumbeck. The variations to which Mozart refers are one of
the sets K. 359, 360, 352, which were composed in the summer of 1781.
2 The signature has been cut off the autograph.

IITT

Z. 413 MOZART TO HJS FATHER i78i

so thin. When I asked her about the portrait, she offered
to make me a present of it, adding that she did not require
it and that she would send it to me on the following day.
But three weeks went by and no portrait came. Again
I went to her house three times in vain. Finally, however,
I went there one day very early in the morning when she
and her plebeian spouse were still at breakfast. Well,
instead of wanting to give me the portrait free, she had
suddenly decided not to let me have it at all. Thereupon
it occurred to me that in such cases the best way to treat
Italians is to be extremely rude. So I told her that she
was as cracked as ever, but that, just to pander to her
ingrained failings, I did not choose to play in my father's
eyes the part of a fool, who says black one day and white
the next; and that I could assure her that I did not
require the portrait. Whereupon she spoke very civilly
and promised to send it the next day, which she did.
You must, however, return it in due course.

I have this moment come from Herr von Hippe, Prince
Kaunitz's private secretary, who is an extremely amiable
man and a very good friend of mine. He first came to
visit me, and I then played to him. We have two harpsi
chords in the house where I am lodging, one for galanterie
playing and the other an instrument which is strung with
the low octave throughout, like the one we had in London,
and consequently sounds like an organ. So on this one I
improvised and played fugues. I go to Herr von Aurn-
hammer almost every afternoon. The young lady is a
fright, but plays enchantingly, though in cantabile play
ing she has not got the real delicate singing style. She
clips everything. She has told me (as a great secret) of her
plan, which is to work hard for two or three years more
and then go to Paris and make music her profession. She
said: "/ am no beauty — au contraire, I am ugly. I have
no desire to marry some chancery official with an income

III2

1781 MOZART TO HIS FATHER L. 413

of three or four hundred gulden and I have no chance of
getting anyone else. So I prefer to remain as I am and to
live by my talent/' And there she is right. She begged me
to assist her in carrying out her project, which she prefers
not to mention beforehand to anyone else.

I shall send you the Opera1 as soon as possible. Countess
Thun still has it and at present she is in the country.
Please have the sonata in Bb a quatre mains2 and the two
concertos for two claviers3 copied for me and send them to
me as soon as possible. I should be very glad, too, to
receive my masses4 by degrees.

Gluck has had a stroke and his health is in a very pre
carious state.5 Tell me whether it is true that Becke was
almost bitten to death by a dog in Munich? Well, I must
close, for I must go off to lunch with the Aurnhammers.
Adieu. I kiss your hands a thousand times and embrace
my dear sister with all my heart and am ever your most
obedient son

WOLFGANG AMADE MOZART

Madame Bernasconi6 is here and is drawing a salary of
five hundred ducats because she sings all her arias a good
comma higher than others. This is really a great achieve
ment, for she always keeps in tune. She has now promised
to sing a quarter of a tone higher still, but on condition
that she is paid twice as much. Adieu.

1 "Idomeneo." * K. 358, composed in 1774-

* K. 365, composed in 1779, and K. 242, a concerto for three claviers,

composed in 1776, which Mozart himself had arranged for two. See Kochel,

p. 309 f.
+ Probably K. 275, composed in 1777, K. 317, composed in I779> ai*d

K. 337, composed in 1780.

5 Gluck had had several apoplectic seizures in 1779 and again in May
1781.

6 Antonia Bernasconi, who had sung in Mozart's "Mitridate", produced
at Milan, December 1770.

III3

Z. 414 MOZART TO HIS FATHER 1781

(414) Mozart to his Father

[Autograph in the Mozarteum, Salzburg}
MON TRES CHER PERE! VlENNE, ce ^juillet, 1781

I have not written to Count Arco and shall not do so,
as you ask me to desist for the sake of your peace of mind.
It is just as I suspected. You really are too timid, and yet
you have nothing whatever to fear; for you — you your
self are as much insulted as I am. I do not ask you to
make a row or even to put forward the slightest complaint.
But the Archbishop and the whole pack of them must be
afraid of speaking to you on the subject. For you, my
father, need have no scruples in saying boldly (if you are
driven to it) that you would be ashamed of having brought
up a son who would allow himself to be so grossly in
sulted by such an infamous scoundrel as Arco; and you
may assure them all that if I had the good fortune to meet
him to-day, I should treat him as he deserves and he
would certainly remember me as long as he lived. All I
insist on, and nothing else, is that you should show the
whole world that you are not afraid. Be silent, if you
choose; but when necessary, speak — and speak in such
a way that people will remember it. The Archbishop
secretly offered 1000 gulden to Kozeluch,1 who, however,
has declined, saying that he was better off in Vienna and
that unless he could improve his position, he would never
leave. But to his friends he added: "What deters me most
of all is that affair with Mozart. If the Archbishop lets

1 Leopold Kozeluch (1752-1818), a Czech, was trained in Prague, and in
1778 went to Vienna as clavier teacher to the Archduchess Elizabeth. He
soon gained a reputation as a clavier-player and composer of grand operas,
symphonies and clavier music. He became one of the most bitter enemies
and detractors of Mozart, whom he succeeded in 1792 in his post of chamber
composer to the Emperor at almost twice the salary which his predecessor
had received.

III4

Ij8i MOZART TO HIS FATHER L. 414

such a man go, what on earth would he not do to me?" So
you see how he knows me and appreciates my talents. I
have received the chest with the clothes. If M. Marchall or
the Syndic of the Chapter comes to Vienna, I should be
delighted if you would send me my favourite watch. I will
return yours, if you will let me have the small one too,
which I should particularly like to have. I wrote to you
the other day about the masses.1 I badly need the three
cassations2 — those in F and Bk would do me for the time
being — but you might have the one in D copied for me
some time and sent on later, for the charge for copying is
so very heavy in Vienna; in addition to which they copy
most atrociously. Well, although I am in a great hurry, I
must say a few words about Marchand,3 as far as I know
him. When his father corrected the younger boy at table,
he took up a knife and said: "Look here, Papa. If you say
another word, I shall cut off my finger at the joint and
then I shall be a cripple on your hands and you will have
to feed me." Both boys have frequently run down their
father to other people. You will no doubt remember Mile
Boudet4 who lives in their house? Well, old Marchand
being rather partial to her, these rascals made infamous
remarks about it. When Hennerle5 was eight years old
he said to a certain girl: "Indeed I would far sooner
sleep in your arms than find myself hugging the pillow
when I wake up". He also made her a formal declara
tion of love and a proposal of marriage, adding: "I cannot
exactly marry you at present, but when my father dies, I
shall have money, for he is not absolutely destitute, and
then we shall live together very comfortably. Meanwhile

1 Seep. 1113, n. 4.

2 Probably K. 247 and 287, written in 1776 and 1777, and K. 334, written
in 1779-

3 Theobald Marchand, theatrical manager in Munich and father of
Margarete (singer), Heinrich (violinist) and David ('cellist) Marchand.

4 Marianne Boudet, who in 1782 married Martin Lang (1755- ? ),
horn-player in the Munich court orchestra. s Little Heinrich.

"IS

L. 415 MOZART TO HIS SISTER 1781

let us love one another and enjoy our love to the full For
what you allow me to do now, you will not be able to
permit later on/' I know too that in Mannheim no one
ever allowed their boys to go where the Marchands were.
For they were caught — helping one another. Well, it is a
great pity for the lad himself; but you, my father, will be
able to reform him completely, of that I am quite sure. As
their father and mother are on the stage, they hear nothing
all day long (and nothing else is ever read out to them)
but tales of love, despair, murder and death. Besides, the
father has too little stability for his age. So they have no
good examples at home. Well, I must stop, or my letter
will reach Peisser too late. Farewell. I kiss your hands a
thousand times and am ever your most obedient son

WOLFGANG AMADE MOZART

P.S. — My greetings to all my good friends. Do tell me
the story about my sister's cap. You mentioned something
about it in a letter. Adieu.

(415) Mozart to his Sister

[Copy in the Preussische Staatsbibliothek, Berlin\
MA TR&S CHERE ScEURJ VlENNE, ce 4 de juillet, 1781

I am delighted that the ribbons are to your taste. I
shall find out the price of the ribbons, both the painted and
the unpainted. At present I do not know it, as Frau von
Aurnhammer, who was so kind as to procure them for me,
refused to take any payment, but begged me to send you
all sorts of nice messages, although she does not know
you, and to tell you that she will be very glad at any time
to be able to do you a kindness. I have already conveyed
to her your greetings in return. Dearest sister! I wrote the
other day to our dear father that if there is anything in

1116

1781 MOZART TO HIS SISTER L. 415

Vienna which you would like to have, whatever it may be,
I should be delighted to do this service for you.1 I now
repeat this, adding that it would distress me very greatly
if I were to hear that you were commissioning someone
else in Vienna. I am heartily glad when you are well.
Praise and thanks be to God, I too am in good health and
in excellent spirits. My sole entertainment is the theatre.
How I wish that you could see a tragedy acted here!
Generally speaking, I do not know of any theatre where
all kinds of plays are really well performed. But they
are here. Every part, even the most unimportant and
poorest part, is well cast and understudied. I should very
much like to know how things are progressing between
you and a certain good friend, you know whom I mean.2
Do write to me about thisl Or have I lost your confidence
in this matter? In any case, please write to me often, I
mean, when you have nothing better to do, for I should
dearly love to hear some news occasionally — and you are
the living chronicle of Salzburg, for you write down every
single thing that occurs; so, to please me, you might write
it down a second time. But you must not be angry with
me, if now and then I keep you waiting a long time for a
reply.

As for something new for the clavier I may tell you
that I am having four sonatas engraved. Those in C and
Bb are among them3 and only the other two are new. Then
I have written variations on three airs,4 which I could
send you, of course; but I think it is hardly worth the
trouble and I would rather wait until I have more to send.
Well, I suppose the marksmen's feast will soon be held? I
beg you solemniter to drink the health of a loyal marks-

1 See p. 1106 f. 2 Franz D'Yppold, Cp. p. 1021, n. I.

3 The violin and clavier sonatas, K. 296 in C major, composed in 1778, and
K. 378 in Bb, composed in 1779.
* K. 359, 360, 352.

III7

L. 416 MOZART TO HIS FATHER

man. When it is my turn again to provide the target,
please let me know and I shall have one painted. Now
farewell, dearest, most beloved sister, and rest assured that
I shall ever remain your true friend and sincere brother

WOLFGANG AMADE MOZART

(416) Mozart to his Father

[Autograph in the Mozarteum, Salzburg]

REISENBERG, near VIENNA, ce 13 dejuillet, 1781

MON TRES CHER ?ERE!

I cannot write very much, as Count Cobenzl is driv
ing off to town this very moment and I must give him this
letter if I wish it to be posted. I am writing to you at an
hour's distance from Vienna, at a place called Reisenberg.
I once spent a night here, and now I am staying for a few
days. The little house is nothing much, but the country —
the forest — in which my host has built a grotto which
looks just as if Nature herself had fashioned it! Indeed
the surroundings are magnificent and very delightful. I
have received your last letter. I have long been intending
to leave the Webers and I shall certainly do so. But I
swear to you that I have not heard a word about going to
live with Herr von Aurnhammer. It is true that I might
have lodged with Mesmer, the writing-master, but really
I prefer to stay with the Webers. Mesmer has Righini1
(formerly opera buffa singer and now a composer) in his
house and is his great friend and protector; but Frau
Mesmer is still more so. Until I find a good, cheap and
comfortable lodging I shall not leave my present one; and
even then I shall have to make up some story to tell the

1 Vincenzo Righini (1756-1812), born at Bologna, first became a singer and
later studied composition under Padre Martini. He was a prolific composer
of operas and church music. One of his operas, "II convitato di pietra", a
forerunner of Mozart's "Don Giovanni", was produced in Vienna in 1777.

Hl8

1781 MOZART TO HIS FATHER L. 417

good woman, for really I have no reason to leave. Herr
von <Moll> has, I know not why, a very malicious tongue,
which particularly surprises me in his case. He says that
he hopes that I shall think better of it and soon return to
Salzburg, for I shall hardly find things so easy here as
I do there, and that, as it is, I am here only on account
of the Viennese women. Fraulein von Aurnhammer re
peated this to me. But everywhere he gets very strange
replies on this point. I can pretty well guess why he talks
in this strain. He is a very strong supporter of Kozeluch.
Oh! how silly it all is!

The story about Herr von Molk greatly astonished me.
I have always thought him capable of anything, — but I
never could have believed he was a scoundrel, I pity the
poor family from my heart. Write to me soon and send
me lots of news. I must stop, as the Count is going off.
Farewell. I kiss your hands a thousand times and embrace
my dear sister with all my heart and am ever your most
obedient son

WOLFGANG AMADE MOZART

(417) Mozart to his Father

[Autograph in the Mozarteum, Salzburg]

MON TRES CHER PERE! VIENNE, ce 2$ de juillet, 1781

I repeat that I have long been thinking of moving to
another lodging, and that too solely because people are
gossiping. I am very sorry that I am obliged to do this
on account of silly talk, in which there is not a word of
truth. I should very much like to know what pleasure
certain people can find in spreading entirely groundless
reports. Because I am living with them,1 therefore I am
going to marry the daughter.2 There has been no talk of

1 i.e. Frau Weber and her daughters. 2 Constanze Weber.

III9

Z. 4x7 MOZART TO HIS FATHER

our being in love. They have skipped that stage. No, I just
take rooms in the house and marry. If ever there was a
time when I thought less of getting married, it is most
certainly now! For (although the last thing I want is a
rich wife) even if I could now make my fortune by a
marriage, I could not possibly pay court to anyone, for
my mind is running on very different matters. God has
not given me my talent that I might attach it to a wife
and waste my youth in idleness. I am just beginning to
live, and am I to embitter my own life? To be sure, I have
nothing against matrimony, but at the moment it would
be a misfortune for me. Well, there is no other way;
although it is absolutely untrue, I must at least avoid
even the appearance of such a thing — even though this
appearance rests on nothing but the fact that I am living
here. People who do not come to the house cannot even
tell whether I associate with her as much as with the rest
of God's creatures, for the children seldom go out; indeed
they go nowhere except to the theatre, where I never
accompany them, as I am generally not at home when
the play begins. We went to the Prater a few times, but
the mother came too, and, as I was in the house, I could
not refuse to accompany them. Nor had I at that time
heard anything of these foolish rumours. I must also tell
you that I was only allowed to pay my own share. Fur
ther, when the mother heard this talk herself and also
heard it from me, she herself, let me tell you, objected to
our going about together and advised me to move to
another house in order to avoid further unpleasantness.
For she said that she would not like to be the innocent
cause of any misfortune to me. So this is the only reason
why for some little time (since people began to gossip) I
have been intending to leave. So far as truth goes, I have
no reason, but these chattering tongues are driving me
away. Were it not for these reports, I should hardly think

1120

MOZART TO HIS FATHER L. 417

of leaving, for, although I could easily get a nicer room,
I could hardly find such comfort and such friendly and
obliging people. I will not say that, living in the same
house with the Mademoiselle to whom people have
already married me, I am ill-bred and do not speak to
her; but I am not in love with her. I fool about and have
fun with her when time permits (which is only in the
evenings when I take supper at home, for in the morning
I write in my room and in the afternoon I am rarely in
the house) and — that is all. If I had to marry all those
with whom I have jested, I should have two hundred
wives at least. Now for the money question. My pupil l
remained three weeks in the country, so I made nothing,
while my own expenses went on. Therefore I could not
send you thirty ducats — only twenty. But as I was very
hopeful about the subscriptions, I thought I would wait
until I should be able to send you the promised sum.
Countess Thun, however, has just told me that it is use
less to think of subscriptions before the autumn, because
all the people with money are in the country. So far she has
only found ten subscribers and my pupil only seven. In
the meantime I am having six sonatas engraved. Artaria,
the music engraver, has already discussed the matter with
me.2 As soon as they are sold and I get some money, I
shall send it to you. I must beg my dear sister to forgive
me for not having sent her a letter of congratulation on
her name-day. A letter I began is lying on my desk. After
I had begun it on Saturday, Countess Rumbeck sent her
servant to say that they were all going to the country and
would I not go with them? So, because I do not like to
refuse anything to Cobenzl, I left the letter lying there,
hastily put my things together and went with them. I

1 The Countess Rumbeck.

2 See p. 1092, n. i. They were published by Artaria and Co. in November
1781.

VOL. Ill 1 121 F

Z. 418 MOZART TO HIS FATHER 1781

thought to myself — my sister will not make a grievance
of it. I now wish her on the octave of her name-day *
every possible good and every blessing which a sincere
and loving brother can wish his sister with his whole
heart; and I kiss her most tenderly. I drove in to
Vienna to-day with the Count and to-morrow I am
driving out with him again. Now farewell, dearest, most
beloved father. Believe and trust your son, who cherishes
the most kindly feelings towards all right-minded people.
Why then should he not cherish them towards his dear
father and sister? Believe in him and rely on him more
than on certain individuals, who have nothing better to
do than to slander honest folk. Well, adieu. I kiss your
hands a thousand times and am ever your most obedient
son

WOLFGANG AMADE MOZART

(418) Mozart to his Father

\Autograph in the Mozarteum, Salzburg]
MON TRES CHER PlERE! VIENNA, ce I (Faotit, 1 78 1

I fetched at once the sonata for four hands,2 as Frau
von Schindl lives just opposite the "Auge Gottes". If
Madame Duschek happens to be in Salzburg, please give
her my most friendly greetings and ask her whether,
before she left Prague, a gentleman called on her and
brought her a letter from me. If not, I shall write to him
at once and tell him to forward it to Salzburg. This was
Rossi of Munich, who asked me to help him with a letter
of introduction. He took with him from here some ex
cellent letters to Prague. If my letter only concerned his
introduction, I should certainly let him dispose of it;
but in it I also asked Mme Duschek to assist me in the

1 July 26th. * K. 358, composed in 1774.

1 122

1781 MOZART TO HIS FATHER L. 418

matter of subscriptions for my six sonatas.1 1 was particu
larly glad to render this service to Rossi, as he has written
the poem for the cantata which I want to produce for my
benefit in Advent.2

Well, the day before yesterday Stephanie junior gave
me a libretto to compose.3 I must confess that, however
badly he may treat other people, about which I know
nothing, he is an excellent friend to me. The libretto is
quite good. The subject is Turkish4 and the title is: Bel-
monte und Konstanze, or Die Verfiikrung aus dem
Serail. I intend to write the ouverture, the chorus in
Act I and the final chorus in the style of Turkish music.
Mile Cavalieri,5 Mile Teiber,6 M. Fischer,7 M. Adam-
berger,8 M. Dauer9 and M. Walter10 are to sing in it. I
am so delighted at having to compose this opera that I

1 See p. 1092, n. i. 2 See p. 1107, n. 2.

3 The original text was by Christoph Friedrich Bretzner (1748-1807), a
Leipzig merchant, whose light-opera libretti were very popular, several
having been collected and published in 1779. "Belmonte und Constanze"
was written in 1780, set to music by the successful operatic composer Johann
Andre (1741-1799), and performed in May 1781 at the Dobbelin Theatre in
Berlin. Gottlieb Stephanie, chiefly at Mozart's instigation, made considerable
alterations and additions to this text. For a full discussion of this revision see
Abert, vol. i. p. 931 ff.

4 Bretzner's text was not by any means an original work. Several opera
libretti had already been written on subjects connected with life in a Turkish
seraglio, notably Dancourt's "Pilgrimme von Mekka" (set to music by Gluck,
1764), Martinelli's "Laschiavaliberata" (set to music by Jommelli, 1768, and
Schuster, 1777) and Grossmann's "Adelheit von Veltheim", which appeared
in 1780 and was set to music in 1781 by Neefe, who was Beethoven's teacher
at Bonn.

5 Katharina Cavalieri (1761-1801), an Austrian by birth, was trained in
Vienna by Salieri. She made her first appearance in Italian opera in 1775.
She took the part of Constanze.

6 Therese Teiber (1765- ? ), daughter of a violinist in the Vienna court
orchestra. She married Ferdinand Arnold, a well-known tenor. She took the
part of Blonde.

7 Karl Ludwig Fischer (1745-1825), one of the finest bass singers of his
day. He created the part of Osmin.

8 See p. 1075, n. 4. Adamberger took the part of Belmonte.

9 Dauer (1746-1812), a fine tenor and an excellent actor. He took the part
of Pedrillo. I0 Walter probably took the spoken part of Bassa Selim.

1123

Z. 418 MOZART TO HIS FATHER 1781

have already finished Cavalieri's first aria, Adamberger's
and the trio which closes Act I. The time is short, it
is true, for it is to be performed in the middle of Sep
tember; l but the circumstances connected with the date
of performance and, in general, all my other prospects
stimulate me to such a degree that I rush to my desk with
the greatest eagerness and remain seated there with the
greatest delight. The Grand Duke of Russia 2 is coming
here, and that is why Stephanie entreated me, if possible,
to compose the opera in this short space of time. For the
Emperor and Count Rosenberg are to return soon and
their first question will be whether anything new is being
prepared? Stephanie will then have the satisfaction of
being able to say that Umlaufs opera,3 on which he has
been engaged for a long time, will soon be ready and that I
am composing one for the occasion. And he will certainly
count it a merit on my part to have undertaken to compose
it for this purpose in so short a time. No one but Adam-
berger and Fischer knows anything about it yet, for
Stephanie begged us to say nothing, as Count Rosenberg
is still absent and any disclosure may easily lead to all kinds
of gossip. Stephanie does not even wish to be regarded as
too good a friend of mine; but he wants it to be thought
that he is doing all this because Count Rosenberg desires
it; and indeed the Count on his departure did actually
order him to look around for a libretto, but no more.

Well, 1 have nothing more to tell you, for I have heard
no news. The room into which I am moving is being got
ready.4 1 am now going off to hire a clavier, for until there

1 The first performance of the opera was on July i6th, 1782.

2 The Grand Duke Paul Petrovitch, afterwards Paul I.

3 Probably "Das Irrlicht", on C. F. Bretzner's libretto. This opera was
performed in 1782. See MM, February 1919, p. 8,

4 This was not Am Graben no. 1175 (now no. 8), the lodging into which
Mozart moved early in September, but a room in the house of Herr Aurn-
hammer. See p. 1130.

1124

1781 MOZART TO HIS FATHER Z. 419

is one in my room, I cannot live in it, because I have so
much to compose and not a minute must be lost. Indeed
I shall miss a great many comforts in my new lodging —
particularly in regard to meals. For whenever I had any
thing very urgent to finish, the Webers always delayed
the meal for me as long as I chose; and I could go on
writing without dressing and just go to table next door,
both for lunch and supper; whereas now, when I wish
to avoid spending money on having a meal brought
to my room, I waste at least an hour dressing (which
up to the present I have postponed until the afternoon)
and must go out — particularly in the evening. You know
that usually I go on composing until I am hungry. Well,
the kind friends with whom I could have supper sit down
to table as early as eight or half past eight at latest. At
the Webers' we never did so before ten o'clock. Well,
adieu. I must close, for I must go out and find a clavier.
Farewell. I kiss your hands a thousand times and embrace
my dear sister with all my heart and am ever your most
obedient son

WOLFGANG AMDE MOZART

P.S. — My greetings to all Salzburg.

(419) Mozart to his Father

[Autograph in the Mozarteum, Salzburg]
MON TRES CHER P£RE! VlENNE, ce 8 d'aout, 1781

I must write in haste, for I have only this very
instant finished the Janissary chorus * and it is past
twelve o'clock and I have promised to drive out at two
o'clock sharp with the Aurnhammers and Mile Cavalieri
to Mingendorf near Laxenburg, where the camp now is.

' In Act I.

1125

L. 419 MOZART TO HIS FATHER 1781

Adamberger, Mile Cavalieri and Fischer are exceedingly
pleased with their arias. I lunched yesterday with
Countess Thun and am to do so again to-morrow. I
played to her what I have finished composing and she
told me afterwards that she would venture her life that
what I have so far written cannot fail to please. But on
this point I pay no attention whatever to anybody's
praise or blame — I mean, until people have heard and
seen the work as a whole. I simply follow my own feelings.
All the same you may judge from this how pleased she
must have been to express herself so emphatically.

As I have nothing of any consequence to write about,
I will just tell you a shocking story; but perhaps you
have heard it already. In Vienna it is called the Tyrolese
tale. It particularly interests me, because when I was in
Munich I knew intimately the unfortunate man con
cerned in it, who, moreover, used to come to see us here
every day. His name is Herr von Wiedmer, and he is a
nobleman. Whether it was owing to misfortunes or to a
natural inclination for the stage, I know not, but some
months ago he collected a theatrical company with whom
he went to Innsbruck. One Sunday morning at about
twelve o'clock this good fellow was strolling along the
street very quietly and some gentlemen were walking close
behind him. One of them, Baron Buffa by name, kept on
abusing the impresario, saying "That idiot ought to
teach his dancer to walk before he lets her go on the
stage", using at the same time all sorts of epithets.
Herr von Wiedmer, after listening to this for a while,
naturally looked round at last, upon which Buffa asked
him why he was looking at him. Wiedmer replied very
good-humouredly: "Why, you are looking at me as well.
The street is free, anyone can look round if he pleases",
and continued to walk ahead. Baron Buffa, however,
went on abusing him, which in the end proved too much

1126

I7&T MOZART TO HIS FATHER Z. 4x9

for the good man's patience, so that he asked Buffa for
whom these remarks were intended. "For you, you con
temptible cur!" was the reply, accompanied by a violent
box on the ear, which Herr von Wiedmer instantly re
turned with interest. Neither had a sword, or Wiedmer
would certainly not have paid him back in his own coin.
My friend went home very quietly in order to arrange
his hair (for Baron Buffa had seized him by the hair as
well) and he intended to bring the case before the
President, Count Wolkenstein. But he found his house
filled with soldiers, who took him off to the guard-room.
Say what he would, it was of no avail and he was con
demned to receive twenty-five lashes on his behind. At
last he said: "I am a nobleman and I will not submit to
be beaten when I am innocent. I would rather enlist as a
soldier in order to have my revenge/' For in Innsbruck
the stupid Tyrolese custom evidently is that no one may
hit a nobleman, no matter what right he may have to do
so. Whereupon he was taken to gaol, where he had to
receive not twenty-five, but fifty lashes. Before he lay
down on the bench, he cried out: "I am innocent and I
appeal publicly to the Emperor". But the corporal
answered him with a sneer: "Perhaps the gentleman will
first take his fifty lashes and after that the gentleman can
appeal". It was all over in two hours — that is to say, at
about two o'clock. After the fifth lash his breeches were
torn already. I am amazed that he was able to stand it;
and indeed he was carried away unconscious and was
confined to bed for three weeks. As soon as he was cured,
he came post-haste to Vienna, where he is anxiously
awaiting the arrival of the Emperor, who has already
been informed of the whole affair, not only by people
here, but by his sister, the Archduchess Elizabeth,1 at
Innsbruck. Wiedmer himself has a letter from her to
1 Archduchess Elizabeth (1743-1808), Maria Theresa's sixth child.

1127

Z. 4ig MOZART TO HIS FATHER 1781

the Emperor. On the day before this occurred the
President had received orders to punish no one, whoever
he might be, without first informing the authorities in
Vienna — which makes the case still worse. The President
must indeed be a very stupid and malicious dolt. But how
can this man ever obtain adequate compensation? The
lashes must always remain. If I were Wiedmer, I would
demand the following satisfaction from the Emperor —
that the President should receive fifty lashes on the same
place and in my presence and, in addition, pay me 6000
ducats. And if I could not obtain this satisfaction I would
accept no other; but at the very first opportunity I would
run my sword through his heart. By the way, Wiedmer
has already been offered 3000 ducats to stay away from
Vienna and to hush up the affair. The people of Inns
bruck speak of him as "He who was scourged for us
and who will also redeem us". No one can bear the
President, and his house has had to be guarded the
whole time. There is a regular gospel about him in
Vienna. Nothing else is being talked of. I feel very
sorry for poor Wiedmer, for he is never well now and is
always complaining of headaches and bad pains in his
chest.

Now, farewell. I kiss your hands a thousand times and
embrace my dear sister with all my heart and am ever
your most obedient son

W. A. MZT.

My greetings to the Duscheks, whom I hope to see in
Vienna. Adieu.

1128

1781 LEOPOLD MOZART TO J. G, I. BREITKOPF L. 420

(420) Leopold Mozwt to J. G. I. Breitkopf, Leipzig

[Extract] [Autograph in the Preussische Staatsbibliothek, Berlin\

SALZBURG, August \othy 1781

As for my son, he is no longer in service in Salzburg.
When we were in Munich, the Prince,1 who was then in
Vienna, commanded him to join him there. So he left
Munich on March I2th and my daughter and I returned
to Salzburg on the I4th. As His Grace the Prince treated
my son extremely badly in Vienna and as, on the other
hand, all the great noble families marked him out for their
special favours, he was easily persuaded to resign a
service to which a miserable salary was attached, and to
remain in Vienna. As far as I know, six sonatas for
clavier and violin are being engraved in Vienna. Further,
my son has been asked to compose an operetta, which
is to be performed in the middle of September, He has
undertaken to do this, as the operetta is to celebrate the
arrival of the Grand Duke of Russia.

The six sonatas dedicated to Her Highness the Elec-
tress of the Bavarian Palatinate have been published by
Herr Sieber2 in Paris and can be bought from him. His
address is: rue St. Honore, a T Hotel d'Aligre, Ancien
Grand Conseil. He took them from my son and gave him
15 louis d'or, thirty copies and full liberty in regard to
their dedication. The opera my son wrote for Munich was
"Idomeneo". The strange thing about it was that it was
manufactured entirely by Salzburg people. The libretto
was written by the Salzburg court chaplain, Abbate
Varesco, the music by my son, and Herr Schachtner did
the German translation. People tried hard to persuade us
to have the opera printed or engraved, the whole score

1 i.e. the Archbishop of Salzburg.
2 Jean Georges Sieber (c. 1734-^. 1815), the famous Paris publisher.

1129

L. 421 MOZART TO HIS FATHER 1781

or possibly a clavier arrangement. Subscribers, among
whom was Prince Max von Zweibriicken and so forth,
put down their names for about twenty copies. But my
son's departure for Vienna and other attendant circum
stances obliged us to postpone everything. I should add
that "Trois Airs Varies pour le clavecin ou le forte-
piano" were also published in Paris by Herr Heina, rue
de Seine, Faubourg St. Germain, a THotel de Lille, at
the price of four livres.1 But we haven't any copies left.
Perhaps I ought to mention that my son never gives any
compositions to be engraved or printed which are already
in other hands. For we are very particular about having
only one set of copies of every work.2

(421) Mozart to his Father

[Autograph in the Mozarteum, Salzburg]
MON TRES CHER PERE! VlENNE, ce 22 d'Aout, 1 78 1

I cannot let you know the address of my new lodging,
as I have not yet got one.3 But I am bargaining about
the prices of two, one of which I shall certainly take, as I
cannot stay here next month and so must move out. It
appears that Herr von Aurnhammer wrote and told you
that I had actually found a lodging! I had one, it is true,
but what a habitation! fit for rats and mice, but not for
human beings. At noon I had to look for the stairs with a
lantern. The room was a little closet and to get to it I had
to pass through the kitchen. In the door there was a tiny
window and although they promised me to put up a curtain
inside, they asked me at the same time to draw it back as
soon as I was dressed, for otherwise they would not be

1 The first edition of K. 180 (six variations on "Mio caro Adone", com
posed in 1773), K. 179 (twelve variations on Fischer's minuet, composed in
1774) and K. 354 (twelve variations on "Je suis Lindor", composed in 1778).

* The autograph breaks off here. 3 See p. 1124, n. 4.

1130

1781 MOZART TO HIS FATHER Z. 421

able to see anything either in the kitchen or in the adjoin
ing rooms. The owner's wife l herself called the house the
rats' nest — in short, it was a dreadful place to look at. Ah,
what a splendid dwelling for me indeed, who have to
receive visits from various distinguished people. The good
man, of course, was only thinking of himself and his
daughter, who is the greatest seccatrice I have ever met.
As your last letter contains such a eulogy a la Count Daun
of this family, I must really give you some account of
them. I would have passed over in silence all you are
going to read, regarding it as a matter of indifference and
only as a private and personal seccatura, but, as your
letter indicates that you place reliance on this family, I
think myself bound to tell you frankly about their good
and bad points. Well, he is the best-tempered fellow in the
world — indeed, too much so, for his wife, the most stupid,
ridiculous gossip imaginable, so rules the roost, that when
she opens her mouth, he does not dare to say a word. As
we have often gone out walking together, he has begged
me not to mention before his wife that we had taken a
fiacre or drunk a glass of beer. Well, I simply cannot have
any confidence in a man who is so utterly insignificant in
his own family. He is quite a good fellow and a very kind
friend; and I could often lunch at his house. But it is not
my habit to allow people to pay me for my favours —
though indeed a midday plate of soup at lunch would be
no payment. But people of that type think that it is! I do
not go to their house for my own advantage, but for theirs,
for I can see no profit for myself; and I have never yet
met a single person there who would be worth mention
ing in this letter. In short — they are decent people, but
nothing more — people who have sense enough to see how
useful an acquaintance with me is to their daughter who,
as everyone says who heard her play before, has entirely

1 Frau Aurnhammer.

L. 421 MOZART TO HIS FATHER 1781

changed since I have been teaching her. I will not attempt
to describe the mother. Suffice it to say that when I am
at table it is all I can do not to burst out laughing. Basta!
You know Frau Adlgasser? Well, this meuble is even
more aggravating, for she is medisante into the bargain —
I mean, she is both stupid and malicious. Now for the
daughter. If a painter wanted to portray the devil to the
life, he would have to choose her face. She is as fat as a
farm-wench, perspires so that you feel inclined to vomit,
and goes about so scantily clad that really you can read as
plain as print: " Pray, do look here" . True, there is enough
to see, in fact, quite enough to strike one blind; but — one
is thoroughly well punished for the rest of the day if one
is unlucky enough to let one's eyes wander in that
direction — tartar is the only remedy! So loathsome, dirty
and horrible! Faugh, the devil! Well, I have told you how
she plays, and also why she begged me to assist her. I am
delighted to do people favours, provided they do not
plague me incessantly. But she is not content if I spend a
couple of hours with her every day. She wants me to sit
there the whole day long — and, what is more, she tries to
be attractive. But, what is worse still, she is serieusement
in love with me! I thought at first it was a joke, but now I
know it to be a fact. When I perceived it — for she took
liberties with me — for example, she made me tender re
proaches if I came somewhat later than usual or could not
stay so long, and more nonsense of the same kind — I was
obliged, not to make a fool of the girl, to tell her the truth
very politely. But that was no use: she became more lov
ing than ever. In the end I was always very polite to her
except when she started her nonsense — and then I was
very rude. Whereupon she took my hand and said: "Dear
Mozart, please don't be so cross. You may say what you like,
I am really very fond of you!' Throughout the town people
are saying that we are to be married, and they are very

1132

1781 MOZART TO HIS FATHER Z. 422

much surprised at me, I mean, that I have chosen such a
face. She told me that when anything of the kind was said
to her, she always laughed at it; but I know from a cer
tain person that she confirmed the rumour, adding that
we would then travel together. That enraged me. So
the other day I gave her my mind pretty plainly and
warned her not to abuse my kindness. Now I no longer
go there every day, but only every other day, and I shall
gradually drop it altogether. She is nothing but an amor
ous fooL For before she got to know me, she once said in
the theatre, on hearing me play: "He is coming to see me
to-morrow and I shall play his variations to him in the
very same style". On this account I did not go, because it
was not only a conceited speech, but a downright lie, as I
had never heard a word about calling on her the next day.
Well, adieu, my paper is full. I have now finished the first
act of my opera.1 I kiss your hands a thousand times and
embrace my sister with all my heart and am ever your
obedient son

W. A. MOZART

(422) Mozart to his Father

\Autograph in the Mozarteum, Salzburg\
MON TRES CHER PERE! VlENNE, ce 29 (faout, 1 78 1

I will now reply to your questions. Herr von < Asee) is
Herr von Moll.2 Madame Bernasconi gets 500 ducats from
the management or, for all I can tell, from the Emperor,
but only for one year. I should add that she grumbles and
wishes she had left long ago; but that is only a furberia
italiana3 — and just because she is grumbling, she is going

1 "Die Entfuhrung aus dem Serail."

2 See p, 1119. Evidently Leopold Mozart had not realised that the word
was in cypher.

3 A piece of Italian knavery.

1133

L. 422 MOZART TO HIS FATHER 1781

to remain here. Otherwise she would hardly have left
London to come to Vienna.1 For one fine day she turned
up, no one knows how or why. I believe that Count
Dietrichstein (Master of the Horse), who is her protector,
knew something about it beforehand, and that Gluck (who
wanted to have his French operas performed in German)
also lent a hand. What is certain is that she was really
forced on the Emperor. The great herd of the nobility are
very much taken with her, but in his heart of hearts not
the Emperor, who in fact is as little taken with her as he
is with Gluck. Nor is she a favourite with the public. It
is true that in great tragic parts she will always remain
Bernasconi, but in operettas she is a total failure, as they
no longer suit her. Moreover, as she herself admits, she is
more Italian than German, and her accent on the stage is
as thoroughly Viennese as it is in ordinary conversation.
So now you can picture her to yourself. And when she
occasionally tries to correct her accent, it is just as if you
were to hear a princess declaim in a puppet-show. Her
singing too is now so bad that no one will compose for
her.3 But that she may not draw her 500 ducats for
nothing, the Emperor (with some difficulty) has been
induced to have Gluck' s "Iphigenie" and "Alceste" per
formed — the former in German, the latter in Italian.3 I
know nothing of Signor Righini's success. He makes a
good deal of money by teaching, and last Easter he was
successful with his cantata,4 which was performed twice in
succession and had good receipts on both occasions. He
composes very charmingly and he is not by any means

1 Antonia Bernasconi (1741-1803) had been singing at the Italian Opera
in London from 1778 until 1781.

2 Antonia Bernasconi was well past her prime.

3 Gluck's "Iphigenie in Tauris" was given in German on October 23rd,
1781, and was followed by further performances of "Alceste" on December
3rd and "Orfeo" in Italian on December 3ist.

« "II Natale d' Apollo."

H34

i?8i MOZART TO HIS FATHER Z. 422

superficial; but he is a monstrous thief. He offers his stolen
goods in such superfluity, in such profusion, that people
can hardly digest them. As for the Dorotheans,1 it is only
gossip that is going round — nothing has happened —
perhaps it will. The Emperor went off again for a fort
night, but has now returned.

We have had hardly any thunderstorms. At the most
there were two, and they were very slight. But we have
had terrible heat, so that everyone has been saying that
never in his life has he endured anything like it.

The Grand Duke of Russia is not coming until Novem
ber, so I can write my opera more at leisure. I am
delighted. I shall not have it performed before All Saints'
Day, for that is the best time, as everyone returns from the
country then.

I have now taken a very prettily furnished room in the
Graben and shall be living there when you read this
letter.2 I purposely chose one not looking on the street in
order to be quiet. Continue to address your letters to
Peisser, for I shall always get them. But, if you do not send
them through Hagenauer, you must enclose them in a
cover and put his address on it. For I have all my
letters addressed to him. As for Herr Duschek, I have
already mentioned in a letter to his wife the price of
the sonatas, which is three ducats.3

Well, adieu. I have no more news. I kiss your hands a
thousand times and embrace my sister with all my heart
and am ever your most obedient son

WOLFGANG AMADE MOZART

P.S. — My greetings to all Salzburg.

1 The Dorotheerkloster in Vienna, founded by Duke Albrecht II in the
1 4th century, was occupied from 1414 onwards by the Augustinerchorherren,
and incorporated with Klosterneuburg in 1782,

a See p. 1124, n. 4. 3 See p. 1092, n. i.

II3S

Z. 423 MOZART TO HIS FATHER 1781

(42 2 a) Mozart to his Sister1

[Autograph in the Mozarteum, Salzburg}

You will probably have not been able to read this letter,
for my pen is a wretched one. Please give my most cordial
greetings to M, D'Yppold and tell him to count on my true
friendship. My greetings to Katherl and all my good
friends. Adieu. I have asked you to address your letters to
Peisser. But, if you do, you will have to put each letter
into a separate cover and then it will immediately cost
sixteen kreutzers. So perhaps you had better direct them
as usual: Auf dem Peter, im Auge Gottes; 2nd floor. This
address is so well known at the post office that even
when a letter has arrived in Vienna with only my name
on it, it has been delivered to me. If you do this, I shall
certainly receive your letters. Adieu.

(423) Mozart to his Father

[Autograph in the Mozarteum, Salzburg\

MON TRES CHER P^RE! VIENNA, ce $ de ?*", 1781

I am now writing to you in my new room in the
Graben, No. HJ5, 3rd floor. From the way in which you
have taken my last letter — as if I were an arch-scoundrel
or a blockhead or both! — I am sorry to see that you rely
more on the gossip and scribblings of other people than
you do on me — and that in fact you have no trust in me
whatever. But I assure you that all this does not disturb
me; people may write themselves blind — and you may
believe them as much as you please — but I shall not alter
by a hair's breadth; I shall remain the same honest

1 This postscript, which is written on a separate sheet,. is undated, but
probably belongs to this letter.

1136

1781 MOZART TO HIS FATHER L. 423

fellow as ever. And I swear to you that if you had not
wanted me to move into another lodging, I should not
have left the Webers; for I feel just like a person who has
left his own comfortable travelling carriage for a post-
chaise. But not another word on the subject. It is really
no use talking about it. For the nonsense which God
knows who puts into your head always outweighs any
reasons of mine. But one thing I do beg of you. When you
write to me about something I have done, of which you
disapprove or which you think might have been done
better, and in reply I send you my ideas on the subject,
please regard the whole matter as one between father and
son alone, a secret, I mean, and something which is not
to be told to others, as I myself always regard it. I there
fore entreat you to leave it at that and not to apply to
other people, for, by God, I will not give the smallest
account to others of what I do or leave undone, no, not
even to the Emperor himself. Do trust me always, for
indeed I deserve it. I have trouble and worry enough here
to support myself, and it therefore does not help me in
the very least to read unpleasant letters. From the first
moment I came here I have had to live entirely on my
own means, that is, on what I could make by my own
efforts. The others always drew their pay. Ceccarelli made
more money than I did, but blew every penny of it in
Vienna. If I had done the same, I should never have been
in a position to quit the service. It is certainly not my
fault, my dearest father, that you have not yet had any
money from me; it is due to the present bad season. Only
have patience — I, too, have to cultivate it. God knows
that I shall never forget you! At the time of my affair with
the Archbishop I wrote to you for clothes, for I had
nothing with me but my black suit. The mourning was
over, the weather was hot and my clothes did not arrive.
So I had to have some made, as I could not go about
VOL. in 1137 G

Z. 424 MOZART TO HIS FATHER 1781

Vienna like a tramp, particularly in the circumstances.
My linen was a pitiful sight; no house-porter in Vienna
wore shirts of such coarse linen as mine, which in a man is
certainly the most objectionable thing. That meant more
expense. I had only one pupil — and she stayed away for
three weeks, which was a further loss for me. One must
not make oneself cheap here — that is a cardinal point — or
else one is done. Whoever is most impertinent has the best
chance. From all your letters I gather that you believe
that I do nothing but amuse myself. Well, you are most
dreadfully mistaken. I can truthfully say that I have no
pleasure — none whatever — save that of being away from
Salzburg. I hope that all will go well in winter; and then,
my most beloved father, I shall certainly not forget you.
If I see that it is to my advantage, I shall remain here. If
not, I am thinking of going straight to Paris — and I should
like to have your opinion about this. Now farewell. I kiss
your hands a thousand times and embrace my dear sister
with all my heart and am ever your most obedient son

W. A. MZT.

P.S. — My compliments to the Duscheks. Please send
me too when you can the aria I composed for Countess
Baumgarten, the rondo for Mme Duschek and the one
for Ceccarelli.1 Adieu.

(424) Mozart to his Father

{Autograph in the Mozarteum, Salzburg]

MON TR£S CHER P£RE! VIENNE, ce 12 de Sept*", 1781

I have received your two letters, the one of the 5th

through M. Marchall and the one of the yth through the

post — and, what is more, that of the ;th reached me before

1 K. 369, 272 and 374.

1138

Ij8i MOZART TO HIS FATHER Z. 424

that of the 5th. Rust's serenade must have sounded very
effective in the Rock Theatre,1 particularly as the singers
were seated and sang from their music, which would not
have been practicable in a room or a hall. Really I have
to laugh. People are always talking here about concerts to
be given in honour of the Grand Duke2 and — one fine day
the Grand Duke will arrive — and we shall have no Rock
Theatre for him. Herr Lipp must have cut a nice figure
before the great dignitaries, a little worse even than
Haydn, if that were possible. The pluck which the latter
displayed in the hospital grounds was of no little benefit to
my health! 3 1 am dreadfully sorry for the poor unfortunate
sufferers in Radstadt. Speaking of fire, I must tell you
that the Magdalen Chapel in St. Stephen's Church has
been blazing away the whole night. The smoke wakened
the watchman at five o'clock in the morning, but until
half past five not a soul came to extinguish it, and it
was six o'clock and the fire was raging most fiercely
before they brought water and hoses. The whole altar
with all its decorations, and the chairs and everything in
the chapel were burnt to ashes. They were obliged to drive
the people with blows to assist in putting out the fire and,
as scarcely anyone wanted to help, people in laced coats
and embroidered waistcoats were seen lending a hand. It
is said that no such disgraceful lack of organisation has
ever been seen since Vienna was a city. The Emperor is
not here, of course. If only Daubrawaick4 would come
soon, so that I could have my music. Fraulein von Aurn-
hammer is worrying me to death about the two double con
certos.5 We are now having one rehearsal after another in

1 A natural grotto in the park of Schloss Hellbrunn, the summer residence
of the Archbishop, about half an hour's drive from Salzburg.

2 The Grand Duke Paul Petrovitch of Russia. See p. 1124, n. 2.

3 i.e. made me laugh heartily.

4 Possibly a son of Johann Anton Daubrawa von Daubrawaick, Court
Councillor in Salzburg. s See p. 1113, n. 3.

H39

Z. 424 MOZART TO HIS FATHER 1781

the theatre.1 The ballet-master Antoine has been sum
moned from Munich, and supers are being recruited
throughout Vienna and all its suburbs. There is still a
sorry remnant of Noverre's ballet,2 who, however, have
not moved a leg for the last eight years and most of whom
are like sticks. I think I mentioned the other day that
Gluck's "Iphigenie" is to be given in German and his
"Alceste" in Italian.3 If only one of the two were to be
performed, I should not mind, but both — that is very
annoying for me. I will tell you why. The translator of
"Iphigenie" into German is an excellent poet,4 and I
would gladly have given him my Munich opera to trans
late.5 I would have altered the part of Idomeneo com
pletely and changed it to a bass part for Fischer. In
addition I would have made several other alterations and
arranged it more in the French style. Mme Bernasconi,
Adamberger and Fischer would have been delighted to
sing it, but, as they now have two operas to study, and
such exhausting ones, I am obliged to excuse them.
Besides, a third opera would be too much.

I must now hurry off to Marchall (for I have promised
to introduce him to Count Cobenzl), or I shall be too late.
Now farewell. I kiss your hands a thousand times and
embrace my sister with all my heart and am ever your
most obedient son

W. A. MOZART

P.S. — My greetings to all my good friends. A kiss to
Marchand.

1 For Mozart's opera "Die Entfuhrung aus dem Serail".

2 Noverre had left Vienna for good in 1775 to take up his appointment as
maitre des ballets en chef to the Paris Opera. Hence Mozart's statement is a
slight exaggeration. 3 See p. 1134.

4 Johann Baptist von Alxinger (1755-1797), a young Viennese poet. Gluck
helped with the translation.

5 Evidently Mozart was not altogether satisfied with Schachtner's trans
lation of his "Idomeneo".

1140

1781 MOZART TO HIS SISTER L. 425

(425) Mozart to his Sister

{Autograph in the Mozarteum, Salzburg]
MA TRES CHERE ScEUR! VlENNE, ce 1 9 de 7*" , 1 781

I gather from our dear father's last letter that you are
ill, which causes me no little sorrow and anxiety. I see
that for a fortnight you have been drinking waters, so you
must have been ill for a long time — and yet I never heard a
word about it. Well, I am going to be quite frank with you
about your constantly recurring indispositions. Believe
me, dearest sister, that I am quite serious when I say that
the best cure for you would be a husband — and if only
because marriage would have such a profound influence
on your health, I wish with all my heart that you could
marry soon. In your last letter you scolded me, but not as
much as I deserved, I am ashamed when I think of it —
and the only excuse I can offer is that I started to write to
you the moment I received your last letter but one, and
then — left it unfinished! In the end I tore it up. For the
time has not yet arrived for me to be able to give you
more definite and comforting news, although I hope to be
able to do so soon. Now listen to my suggestions.

You know that I am composing an opera. Those por
tions which I have finished have won extraordinary ap
plause on all sides. I know this nation — and I have reason
to think that my opera will be a success. If it is, then I
shall be as popular in Vienna as a composer as I am on
the clavier. Well, when I have got through this winter, I
shall know better how I stand, and I have no doubt that
my circumstances will be favourable. For you and
D' Yppold there are scarcely any — indeed, I may say with
certainty — no prospects in Salzburg. But could not
D' Yppold manage to get something here? I suppose he is
not absolutely penniless? Ask him about it — and if he

1141

Z. 425 MOZART TO HIS SISTER 1781

thinks the project at all practicable, he has only to tell me
what steps to take, and I will certainly do my utmost, for
I take the greatest interest in this affair. If this were
accomplished, you could certainly marry; for, believe
me, you could earn a great deal of money in Vienna, for
example, by playing at private concerts and by giving
lessons. You would be very much in demand — and you
would be well paid. In that case my father would have to
resign his post and come too — and we could live very
happily together again. I see no other solution — and even
before I knew that your affair with D' Yppold was serious,
I had something like this in mind for you. Our dear father
was the only difficulty, for I wanted him to enjoy his rest
and not to have to worry and torment himself. But I think
that in this way it might be arranged. For with your
husband's earnings, your own and mine, we can easily
manage, and enable our father to live in peace and comfort.
Do talk this over soon with D' Yppold and let me know at
once what you would like me to do, for the sooner I begin
to arrange matters, the better. I can do most through the
Cobenzls — but D'Yppold must write and let me know
how and what,

M. Marchall sends his greetings to you — and par
ticularly to M. D' Yppold, whom he thanks most warmly
for his great kindness to him on his departure. Well, I
must close, for I have still to write to Papa. Farewell,
dearest sister! I hope to have better news of your health in
Papa's next letter — and to have it confirmed soon by your
own hand. Adieu. I kiss you a thousand times and am
ever your brother who will always love you with all his
heart

W. A. MOZART

1142

ij8i MOZART TO HIS FATHER L. 426

(425a) Mozart to his Father

[From Ludwig Nohl, Mozarts Brief e, ind edition, pp. 305-306] J
MON TRES CHER PERE!

Forgive me if you have to pay a little more for the
letter this time. I wanted to give you some idea at least
of the first act, so that you may judge what the whole
opera will be like — and I could not have done it with less.
I hope that your fits of dizziness will soon cease. You
gave me rather a fright about my sister, because it was
so unexpected. I do hope that she is better now. I kiss
her a thousand times and kiss your hands a hundred
times and am ever your most obedient son

W. A. MOZART

(426) Mozart to his Father

[Autograph in the possession of Frau Floersheim-Koch, Florence']

MON TRES CHER P^REJ VlENNE, ce 26 de Septembre^ 1781
Forgive me for having made you pay an extra heavy
postage fee the other day. But I happened to have nothing
important to tell you and thought that it would afford
you pleasure if I gave you some idea of my opera. As
the original text began with a monologue,2 I asked
Herr Stephanie to make a little arietta out of it — and
then to put in a duet instead of making the two chatter
together after Osmin's short song.3 As we have given the

1 Nohl, p. 306, in a note to this undated postscript, of which he declares
he used the autograph, states that the other side of the sheet contained a
copy in Constanze Weber's handwriting of Constanze's aria "Ach, ich liebte,
war so gliicklich".

2 In the original text by C. F. Bretzner. See p. 1123, n. 3.

3 It is worthy of note that the part of Osmin, which in Bretzner's libretto
is negligible, was transformed by Mozart in collaboration with Stephanie to
the towering figure in the "Entfuhrung". Possibly Mozart was encouraged
to do this as he was composing for a magnificent singer.

IH3

L. 426 MOZART TO HIS FATHER 1781

part of Osmin to Herr Fischer, who certainly has an
excellent bass voice (in spite of the fact that the Arch
bishop told me that he sang too low for a bass and that I
assured him that he would sing higher next time), we
must take advantage of it, particularly as he has the
whole Viennese public on his side. But in the original
libretto Osmin has only this short song and nothing else
to sing, except in the trio and the finale; so he has
been given an aria in Act I , and he is to have another in
Act II. I have explained to Stephanie the words I require
for this aria — indeed I had finished composing most of
the music for it before Stephanie knew anything what
ever about it. I am enclosing only the beginning and the
end, which is bound to have a good effect. Osmin's rage
is rendered comical by the accompaniment of the Turkish
music. In working out the aria I have given full scope
now and then to Fischer's beautiful deep notes (in spite
of our Salzburg Midas).1 The passage "Drum beim Barte
des Propheten" is indeed in the same tempo, but with
quick notes; but as Osmin's rage gradually increases,
there comes (just when the aria seems to be at an end) the
allegro assai, which is in a totally different measure and
in a different key; this is bound to be very effective. For
just as a man in such a towering rage oversteps all the
bounds of order, moderation and propriety and completely
forgets himself, so must the music too forget itself. But as
passions, whether violent or not, must never be expressed
in such a way as to excite disgust, and as music, even in
the most terrible situations, must never offend the ear,
but must please the hearer, or in other words must never
cease to be music, I have gone from F (the key in which
the aria is written), not into a remote key, but into a
related one, not, however, into its nearest relative D
minor, but into the more remote A minor. Let me now

1 i.e. the Archbishop.
1144

1781 MOZART TO HIS FATHER L. 426

turn to Belmonte's aria in A major, "0 wie angstlich, o
wie feurig". Would you like to know how I have ex
pressed it — and even indicated his throbbing heart? By
the two violins playing octaves. This is the favourite aria
of all those who have heard it, and it is mine also. -I wrote
it expressly to suit Adamberger's voice. You feel the
trembling — the faltering — you see how his throbbing
breast begins to swell; this I have expressed by a cre
scendo. You hear the whispering and the sighing — which
I have indicated by the first violins with mutes and a
flute playing in unison.

The Janissary chorus is, as such, all that can be desired,
that is, short, lively and written to please the Viennese.
I have sacrificed Constanze's aria a little to the flexible
throat of Mile Cavalieri, "Trennung war mein banges
Los und nun schwimmt mein Aug' in Tranen". I have
tried to express her feelings, as far as an Italian bravura
aria will allow it. I have changed the "Hui'J to "schnell",
so it now runs thus — "Doch wie schnell schwand meine
Freude". I really don't know what our German poets are
thinking of. Even if they do not understand the theatre,
or at all events operas, yet they should not make their
characters talk as if they were addressing a herd of swine.
Hui, sow!

Now for the trio at the close of Act I. Pedrillo has
passed off his master as an architect — to give him an
opportunity of meeting his Constanze in the garden.
Bassa Selim has taken him into his service. Osmin, the
steward, knows nothing of this, and being a rude churl
and a sworn foe to all strangers, is impertinent and refuses
to let them into the garden. It opens quite abruptly — and
because the words lend themselves to it, I have made it a
fairly respectable piece of real three-part writing. Then
the major key begins at once pianissimo — it must go
very quickly — and wind up with a great deal of noise,

1145

L. 426 MOZART TO HIS FATHER i78i

which is always appropriate at the end of an act. The
more noise the better, and the shorter the better, so that
the audience may not have time to cool down with their
applause.

I have sent you only fourteen bars of the ouverture,
which is very short with alternate fortes and pianos, the
Turkish music always coming in at the fortes. The
ouverture modulates through different keys; and I doubt
whether anyone, even if his previous night has been a
sleepless one, could go to sleep over it. Now comes the
rub! The first act was finished more than three weeks
ago, as was also one aria in Act II and the drunken
duet * (per i signori viennesi) which consists entirely
of my Turkish tattoo. But I cannot compose any more,
because the whole story is being altered — and, to tell the
truth, at my own request. At the beginning of Act III
there is a charming quintet or rather finale, but I should
prefer to have it at the end of Act II.2 In order to make
this practicable, great changes must be made, in fact an
entirely new plot must be introduced — and Stephanie is
up to the eyes in other work. So we must have a little
patience. Everyone abuses Stephanie. It may be that in
my case he is only very friendly to my face. But after all
he is arranging the libretto for me — and, what is more, as
I want it — exactly — and, by Heaven, I do not ask any
thing more of him. Well, how I have been chattering to
you about my opera! But I cannot help it. Please send
me the march3 which I mentioned the other day.4 Gilow-
sky says that Daubrawaick will soon be here. Fraulein

1 The duet between Pedrillo and Osmin, "Vivat Bacchus, Bacchus lebe".

2 This is the quartet at the end of Act II.

3 Probably K. 249, written in 1776 for the wedding of Elizabeth Haffner
to F. X. Spath, for which Mozart also composed K. 250, the Haffner
serenade.

4 The letter in which Mozart made this request has unfortunately been
lost.

1146

1781 MOZART TO HIS FATHER £. 427

von Aurnhammer and I are longing to have the two
double concertos.1 I hope we shall not wait as vainly as
the Jews for their Messiah. Well, adieu. Farewell. I
kiss your hands a thousand times and embrace with all
my heart my dear sister, whose health, I hope, is im
proving, and am ever your most obedient son

W. A. MOZART

(427) Mozart to his Father

\Autograph in the Mozarteum^ Salzburg]

MON TRES CHER PERE! VlENNE, ce 6 tfoctobre, 1781

I have so far always received your letters on Mondays
and have been accustomed to reply to them on Wednes
days; but the other day I did not receive your letter until
Wednesday and, what is more, it arrived so late in the
afternoon that I hadn't time to write to you. Meanwhile
you will have received the description of the music of my
opera. The day after I got your letter I went to see Herr
von Scharf himself at the Post Office, had a word with
him and gave him my address, so that he should send me
the music at once. For I simply cannot bring myself
to walk out to Leopoldstadt or spend a zwanziger2 to
drive out there just to please young Herr von Mayer.
However, he has not yet arrived. Moreover, Herr von
Scharf too knows nothing whatever about the arrival of
his father-in-law, which is supposed to be so imminent.
There was a rumour that the Archbishop intended to
come here this month (with a numerous suite, too), but
people are now contradicting it. As for Ceccarelli, I am
quite sure that he will be appointed, for indeed I don't
know where the Archbishop could find a better castrate
for the money. Perhaps you already know what happened

1 See p. 1113, n. 3. 2 i.e. twenty pfennigs, about twopence halfpenny.

1147

L. 427 MOZART TO HIS FATHER 1781

to the Alumni who were travelling to Strassburg — on
their arrival there? Why, they were actually refused
permission to pass through the gates of the town, because
they looked not only like beggars but scamps. Herr von
Aurnhammer told me that he heard this from the cousin
of the person to whom they had an introduction, adding
that he said to them: "Well, my dear young men, you will
have to stay in my house for four or five days, so that
first of all I may have you decently dressed. For you
cannot go out as you are, without running the risk of
having street-urchins running after you and pelting you
with mud." A nice testimonial to His Grace the Prince!
I must now carry out a commission and put a question
to you, exactly as it was put to me: — Who were the
Counts von Klessheim? And what has become of them?
Schmidt, my cousin's x poor, unfortunate adorateur, who
is now in Trattner's 2 bookshop, begged me most urgently
to obtain some information for him on the point.

Well, I am beginning to lose patience at not being able
to go on writing my opera. True, I am composing other
things in the meantime — yet — all my enthusiasm is for
my opera, and what would at other times require fourteen
days to write I could now do in four. I composed in one
day Adamberger's aria in A, Cavalieri's in Bb and the
trio, arid copied them out in a day and a half.3 At the
same time nothing would be gained if the whole opera

1 Maria Anna Thekla Mozart, the "Basle".

2 Johann Thomas Edler von Trattner (1717-1798) kept a printing busi
ness and a bookshop in Vienna. His second wife, Therese Edle von Trattner
(1758-1793), was an excellent clavierist. She became a pupil and an intimate
friend of Mozart, who dedicated to her his clavier sonata in C minor, K. 457,
written in 1784, and his clavier Fantasia in the same key, K. 475, written
in 1785. Nottebohm, p. 131, quotes a statement of Constanze Mozart
according to which Mozart is supposed to have written to Frau von Trattner
"two interesting letters about music". Niemetschek, p. 59, mentions one
letter. There is no trace of these valuable documents.

* All in Act L

1148

1781 MOZART TO HIS FATHER L. 427

were finished, for it would have to lie there until Gluck's
two operas : were ready — and there is still an enormous
amount in them which the singers have to study. More
over, Umlauf has been obliged to wait with his opera,2
which is ready and which took him a whole year to write.
But (between ourselves) you must not believe that the
opera is any good, just because it took him a whole year.
I should have thought (again between ourselves) that it
was the work of fourteen or fifteen days, particularly as
the fellow must have learnt so many operas by heart, and
all he had to do was to sit down — and that is precisely
how he composed it — you notice it at once when you hear
it! That reminds me, I must tell you that he invited me
to his house in the most polite manner (c'est-a-dire> in his
own manner) that I might hear his opera, adding: "You
must not think that it is worth your while to hear it — I
have not got as far as you have, but indeed I do my
best". I heard afterwards that he said: "It's quite certain
that Mozart has a devil in his head, his limbs and his
fingers — why, he played off my opera (which I have
written out so disgracefully that I myself can hardly
read it) as if he had composed it himself. Well, adieu.
I hope that my dear sister, whom I embrace with all my
heart, will gradually recover. And you, my dear father
— get some cart-grease, wrap it in a bit of paper and wear
it on your chest. Take the bone of a leg of veal and wrap
it up in paper with a kreutzer's worth of leopard's bane
and carry it in your pocket. I am sure that this will
cure you. Farewell. I kiss your hands a thousand times
and am ever your most obedient son

W. A. MOZART

1 "Iphigenie in Tauris" and "Alceste".
2 Probably "Das Irrlicht". See p. 1124, 0.3.

1149

L. 428 MOZART TO HIS FATHER 1781

(428) Mozart to his Father

\Autograph in the Mozarteum, Salzburg}
MON TRES CHER PERE! VlENNE, ce 13 d'octobre, 1781

Fraulein von Aurnhammer and I thank you for the
concertos.1 M. Marchall brought young Herr von Mayer
to my room yesterday morning and in the afternoon I
drove out and fetched my things. M. Marchall has hopes
of becoming tutor in the family of Count Jean Esterhazy;
Count Cobenzl has given him a written recommendation
to the Count. He said to me: "J'ai donne une lettre a
Monsieur votre protege", and when he saw Marchall
again, he said to him: "D'abord que j'aurai de reponse,
je le dirai a M. Mozart, votre protecteur".

Now as to the libretto of the opera. You are quite right
so far as Stephanie's work is concerned. Still, the poetry
is perfectly in keeping with the character of stupid, surly,
malicious Osmin. I am well aware that the verse is not
of the best, but it fitted in and it agreed so well with the
musical ideas which already Were buzzing in my head,
that it could not fail to please me; and I would like to
wager that when it is performed, no deficiencies will be
found. As for the poetry which was there originally, I
really have nothing to say against it. Belmonte's aria "O
wie angstlich" could hardly be better written for music.
Except for "Hui" and "Kummer ruht in meinem
Schoss" (for sorrow — cannot rest), the aria too is not bad,
particularly the first part. Besides, I should say that in an
opera the poetry must be altogether the obedient daughter
of the music. Why do Italian comic operas please every
where — in spite of their miserable libretti — even in
Paris, where I myself witnessed their success? Just be
cause there the music reigns supreme and when one listens

1 See p. 1113, n. 3.

1781 MOZART TO HIS FATHER Z. 428

to it all else is forgotten. Why, an opera is sure of success
when the plot is well worked out, the words written solely
for the music and not shoved in here and there to suit
some miserable rhyme (which, God knows, never en
hances the value of any theatrical performance, be it
what it may, but rather detracts from it) — I mean, words
or even entire verses which ruin the composer's whole
idea. Verses are indeed the most indispensable element
for music — but rhymes — solely for the sake of rhyming —
the most detrimental. Those high and mighty people who
set to work in this pedantic fashion will always come to
grief, both they and their music. The best thing of all is
when a good composer, who understands the stage and is
talented enough to make sound suggestions, meets an able
poet, that true phoenix; in that case no fears need be
entertained as to the applause even of the ignorant. Poets
almost remind me of trumpeters with their professional
tricks! If we Composers were always to stick so faithfully
to our rules (which were very good at a time when nqjone
knew Better), we should be concocting music as unpalat
able as their libretti.

"Well, I think I have chattered enough nonsense to
you; so I must now enquire about what interests me
most of all, and that is, your health, my most beloved
father! In my last letter I suggested two remedies
for giddiness, which, if you do not know them, you
will probably not think any good. But I have been
assured that they would certainly have a splendid effect;
and the pleasure of thinking that you might recover made
me believe this assurance so entirely that I could not re
frain from suggesting them with my heart's wishes and
with the sincere desire that you may not need them — but
that if you do use them, you will recover completely. I
trust that my sister is improving daily. I kiss her with all
my heart and, my dearest, most beloved father, I kiss

Z. 429 MOZART TO HIS COUSIN 1781

your hands a thousand times and am ever your most

obedient son

W. A. MOZART

As soon as I receive the watch, I shall return yours.
Adieu.

(429) Mozart to his Cousin, Maria Anna Thekla
Mozart, Augsburg

[From Ludwig Nohl, Mozarts Brief e^ 2nd edition, p. 3io/.]

MA TRES CHERE COUSINEJ VlENNE, ce 21 d'octobre, 1781 *
I had been hungering all this long time for a letter
from you, dearest cousin — wondering what it would be
like — and it proved to be exactly what I had imagined.
For after once letting three months elapse, I should never
have written again — even if the executioner had stood
behind me with his naked sword. For I should not have
known how, when, where, why and what? I simply had
to wait for your letter.

As you doubtless know, several important things have
happened to me in the meantime, in connection with
which I have had to do a good deal of thinking and have
had a great amount of vexation, worry, trouble and anxiety,
which indeed may serve to excuse my long silence. As for
all the other things, let me tell you that the gossip which
people have been so kind as to circulate about me, is
partly true and partly false. That is all I can say at the
moment. But let me add, in order to set your mind at rest,
that I never do anything without a reason — and, what is
more, without a well-founded reason. If you had shown
more confidence and friendship and had applied to me
direct (and not to others — and what is more ...!). But

1 It is doubtful whether this date is correct. See p. 1154, n. 2.
1152

1781 MOZART TO HIS COUSIN Z. 429

silence. If you had addressed yourself direct to me, you
would certainly have heard more than everyone else — and,
possibly, more than — I myself! But — Well, I was nearly
forgetting. Be so kind, dearest, most beloved cousin, as to
deliver immediately, in person, the enclosed letter to Herr
Stein,1 and ask him to answer it at once or at any rate to
tell you what you should write to me about it. For I hope
that our correspondence, dear little cousin, will now start
off again! That is, if our letters do not cost you too much!
If, as I hope, you honour me with a reply, be so gracious
as to address your letter as you did the other day, namely,
Auf dem Peter, im Auge Gottes, 2nd floor. True, I no
longer live there, but the address is so well known at the
post office, that when a letter is addressed to my new
lodging, it is held up for a day or two.

Now farewell, dearest, most beloved cousin! Keep me
in your friendship which is so precious to me. Be com
pletely assured of my friendship. I am ever, ma tres chere
cousine, your most sincere cousin and friend,

WOLFGANG AMAD£ MOZART

My greetings to your father and mother and also to
Fraulein Juliana.

Mme2 Weber and her three daughters3 send their greet
ings to you — and she asks you to do her a favour. Herr
Bartholomei, the bookseller (whom no doubt you know),
asked for the portrait of Aloysia, who is now Mme Lange,
in order to have an engraving made. Well, it will be two
years next March and we have heard nothing either about
the portrait or about the payment for it — and its return
was promised for last March. So Mme Weber requests

1 There is no trace of this letter.

2 The autograph of this portion of the postscript is in the Hatzfeld Collec
tion, Paris, and was published in Le Men£strel, August i6th, 1932, p. 355.

3 Josefa, Constanze and Sophie.

VOL. Ill IIS3 H

Z. 430 MOZART TO HIS FATHER 1781

you to make a few enquiries, as she would like to know
what she ought to do. I should add that it is the same
portrait which Baron Gotz had in Munich. I think that
you too have seen it. So it is very bad of him to have
given it into strange hands without saying a word about
it. Adieu, ma chere, write to me soon.

(430) Mozart to his Father

[Autograph in the Mozarteum, Salzburg}

MON TRES CHER PERE! VlENNE, ce 24 d'octobre, 1781

I have had no letter from you to-day, most beloved
father — and my only consolation is the thought that
probably you have had no time to write. Many thanks
for the two divertimenti * and the cuffs, which I have
received safely. I was not at home when young Daubra-
waick called, and he would not entrust the watch to the
people in the house. I shall fetch it myself some day soon
and at the same time give him yours in exchange. I hear
that he is going to remain here for two months, but this
time he is not lodging in Trattner's house. I can't write
very much to you at the moment, as I have still to write
to my cousin and to Herr Stein at Augsburg; 2 for Count
Czernin has asked me to order a pianoforte for his wife.
A propos, do you know that Count Czernin ... I wish
... I should not like . . .3 The first performance of
"Iphigenie" 4 took place yesterday, but I wasn't there,

1 See p. 1115, n, 2.

2 Mozart obviously refers to Letter 429, in which he enclosed a letter for
Herr Stein. From Mozart's remark about the performance of Gluck's opera
which took place on October 23rd, the date of Letter 430 is correct. Hence
there must be some mistake about the date of Letter 429.

3 In the first case two lines, in the second and third cases several words
have been blotted out, probably by Nissen.

4 Gluck's "Iphigenie in Tauris".

1154

1781 MOZART TO HIS FATHER

for whoever wanted to get a seat in the parterre had to
be at the theatre by four o'clock, so I preferred to stay
away. I tried to get a reserved seat in the third circle six
days beforehand, but they were all gone. However, I was
at nearly all the rehearsals. Well, I must close. I trust
that both you, my most beloved father, and my dear
sister are in good health. Praise and thanks be to God, I
am too. I kiss your hands a thousand times and embrace
my sister with all my heart and am ever, mon tres cher
pere, your most obedient son

W. A. MOZART

(431) Mozart to his Father

[Autograph in the Mozarteum, Salzburg]

MON TRES CHER PERE! VIENNE, ce 3 de 9*", 1781

Please forgive me for not having acknowledged by
the last post the receipt of the cadenzas,1 for which I
thank you most submissively. It happened to be my
name-day,2 so I performed my devotions in the morning
and, just as I was going to write to you, a whole crowd
of congratulating friends literally besieged me. At
twelve o'clock I drove out to Baroness Waldstadten 3 at
Leopoldstadt, where I spent my name-day. At eleven
o'clock at night I was treated to a serenade performed by
two clarinets, two horns and two bassoons — and that too
of my own composition4 — for I wrote it for St. Theresa's

1 Probably the cadenzas for K. 242, Mozart's concerto for three claviers,
which he himself had arranged for two.

2 October 3ist.

3 Martha Elizabeth, Baroness von Waldstadten, nle von Schafer (1744-
1811). She was separated from her husband and lived at Leopoldstadt, no.
360. She was an excellent performer on the clavier and became a friend and
patroness of Mozart.

4 K. 375, a serenade composed in October 1781.

IIS5

L. 431 MOZART TO HIS FATHER 1781

Day,1 for Frau von HickeFs sister, or rather the sister-in-
law of Herr von Hickel, court painter,2 at whose house it
was performed for the first time. The six gentlemen who
executed it are poor beggars who, however, play quite
well together, particularly the first clarinet and the two
horns. But the chief reason why I composed it was in
order to let Herr von Strack, who goes there every day,
hear something of my composition; so I wrote it rather
carefully. It has won great applause too and on St.
Theresa's Night it was performed in three different
places; for as soon as they finished playing it in one
place, they were taken off somewhere else and paid to
play it. Well, these musicians asked that the street door
might be opened and, placing themselves in the centre of
the courtyard, surprised me, just as I was about to un
dress, in the most pleasant fashion imaginable with the
first chord in E^. I shall add the second piano part to the
cadenzas 3 and return them to you.

It would be a very good thing if my opera were ready,
for Umlauf cannot produce his at present, because both
Mme Weiss and Mile Schindler are ill. I must go off to
Stephanie at once, as he has sent word at last that he has
something ready for me.

I have no news whatever to give you, for small matters
are not likely to interest you and important ones you
surely know quite as well as we Viennese. There is now
a Dauphin4 — a small thing, I admit, until it becomes a
big one — I am telling you this so that the Due d' Artois
may not have all the credit of a bon mot. For when

1 October I5th.

2 Joseph' Hickel (1736-1807) studied in Vienna and in 1768 was sent to
Italy by the Empress Maria Theresa. On his return he did a portrait of
Joseph II and was appointed in 1772 court painter to the Emperor.

3 See p. 1155, n. i.

4 Louis Joseph Xavier Francois, born on October 22nd, 1781. He died on
June 4th, 1789.

IIS6

1781 MOZART TO HIS FATHER L. 432

during her pregnancy the Queen complained one day
that the Dauphin was causing her great inconvenience
and said: "II me donne de grands coups de pied au
ventre", the Duke replied: "O Madame, laissez-le venir
dehors; qu'il me donnera de grands coups de pied au
cul". Well, the day the news arrived all the theatres and
shows in Vienna were free.

It is striking three, so I must hurry off to Stephanie,
or I may miss him and then have to wait again. I hope
that every day you will feel better and my dear sister too,
whom I embrace with all my heart. Farewell. I kiss your
hands a thousand times and am ever your most obedient
son

W. A. MOZART

(432) Mozart to his Father

[Autograph in the Mozarteum, Salzburg]
MON TRES CHER ?ERE! VlENNE, ce IO de </re, 1 781

I thank you a thousand times for your congratula
tions on my name-day, and send you mine for St.
Leopold's Day.1 Dearest, most beloved father! I wish you
every imaginable good that one can possibly wish. Nay
rather, I wish nothing for you, but everything for myself.
So I wish for my own sake that you may continue to
enjoy good health, and that you may live many, many
years for my happiness and my infinite pleasure. I ^yish for
my own sake that every thing I do and undertake may be in
accordance with your desire and pleasure, or rather that
I may never do anything which may not cause you the
very greatest joy. I hope it may be so, for whatever con
tributes to your son's happiness must naturally be agree
able to you.

Herr von Aurnhammer, in whose house I am writing,

1 November I5th.
IIS7

Z. 432 MOZART TO HIS FATHER 1781

his wife and the two young ladies also send you their
congratulations.

At the play the other day I was talking to Gschwendner,
who told me that Frau Spath1 has died. I hope that I
may perhaps hear from you to-morrow whether this news
is true or false.

The Duke of Wurtemberg 2 is expected to-day, so
to-morrow there is to be a Redoute and on the 25th there
is to be a public Redoute at Schonbrunn. But people
are extremely embarrassed about this, for, according to
general report, the Grand Duke will only stay ten days,
and the festival of St. Catherine, which the ball is to
celebrate, falls according to the Greek calendar on
December 6th. So no one knows yet what will be done.
Now for another comical tale. The Emperor commanded
each of the actors to select a part in which to appear before
the Grand Duke. Lange 3 applied for that of Hamlet, but
Count Rosenberg, who does not like Lange, said that this
could not be, because Brockmann4 had been playing that
part for ages. When this was repeated to Brockmann, he
went to Rosenberg and told him that he could not appear
in the part and that the play could not be performed at all.
And why? Because the Grand Duke himself was Hamlet*
The Emperor (it is said — it is said — it is said) on hearing
this sent Brockmann fifty ducats.. Now I have no more

1 Probably Elise Haffner, daughter of Sigmund Haffner, merchant and
burgomaster of Salzburg, for whose marriage to F. X. Spath, July 22nd,
1776, Mozart composed a march, K. 249, and a serenade, K. 250.

2 The visitors were Duke Karl Eugen of Wurtemberg and his wife, his
daughter Princess Elizabeth, who was betrothed to the Archduke Francis,
and his son Prince Ferdinand. They arrived in Vienna on November nth.

3 Josef Lange, who had married as his second wife Aloysia Weber. See
p. 1089, n. 2.

4 Hieronymus Brockmann, a popular actor.

5 A popular comparison at the time. After the death of his father, Peter III,
and the establishment of his mother, Catherine, as sole ruler of Russia, the
Grand Duke Paul, feeling that his rights had been usurped and that he had
no part to play in the government of his country, fell into a state of melancholy.

1158

1781 MOZART TO HIS FATHER L. 433

news. I thank you again a thousand times and renew my
wishes. I shall write to my sister very soon. I kiss your
hands a thousand times and embrace my dear sister with
all my heart and am ever your most obedient son

W. A. MOZART

P.S. — My thanks and greetings to all who sent me their
congratulations. A propos. Is it true that the Elector of
Bavaria is dying? l Adieu.

(433) Mozart to his Father

[Autograph in the Mozarteum, Salzburg}
MON TRES CHER PERE! VlENNE, ce 17 de Nov*", 1 78 1

I have received your letter of the 6th. In regard to
Ceccarelli, it is quite impossible even for a single night;
for I have only one room, which is not large and is so
crammed already with my wardrobe, table and clavier
that really I do not know where I could put another bed —
and as for sleeping in one bed — that I shall only do with
my future wife. But I shall look about for as cheap a
lodging as possible, provided I know precisely when he is
to arrive. I have not seen Countess Schonborn at all this
time. I had not the heart to call and I still feel just the
same. I know her through and through. She would most
certainly say something which I should probably not
swallow without retorting, and it is always better to avoid
such incidents. In any case she knows that I am here; and
if she wants to see me, she can send for me. Czernin could
not get the hang of the Molk affair and asked him at a
public dinner whether he had any .news of his brother, the
Court Councillor? Molk was taken aback and could not

1 The Elector of Bavaria lived until 1799.
IIS9

Z. 433 MOZART TO HIS FATHER 1781

reply. I would certainly have given him some answer.
He was corrupted in a house which you frequented a
great deal.1 I shall look up the Kletzl family as soon as
possible. Well, I have at last got something to work at
for my opera. Indeed, if we were always to trust and
believe tale-bearers, how often should we injure ourselves!
I simply cannot tell you how people abused Stephanie
junior to me. I really became quite uneasy about him, and
if I had acted as I was advised, I should have transformed
a good friend into an enemy who might have done me a
great deal of harm; and all this without any just cause.
Yesterday at three o'clock in the afternoon the Arch
duke Maximilian2 sent for me. When I went in, he was
standing near the stove in the first room and was waiting
for me. He came up to me at once and asked me if I had
anything particular to do that day. I replied: " Nothing
whatever, your Royal Highness; and if I had, I should
still consider it a favour to be allowed to wait on your
Royal Highness". "No, no/' he said, "I refuse to incon
venience anyone/' He then told me that he was intending
to give a concert that very evening to the visitors from
Wurtemberg3 and suggested that I should play and
accompany the arias, adding that I was to come back at
six o'clock when all the guests would be assembled. So I
played there yesterday. When God gives a man a sacred
office, He generally gives him understanding; and so it is,
I trust, in the case of the (Archduke.) But before he
became a priest, he was far more witty and intelligent and
talked less, but more sensibly. You should see him now!
(Stupidity) oozes out of his eyes. He talks and holds forth
incessantly and always in falsetto — and he has started a

1 This obscure passage is probably connected with the passages in Letter
430 which have been obliterated.

2 The Archduke Maximilian (1756-1801) was the Emperor's youngest
brother. He was Archbishop of Cologne.

3 See p. 1158, n. 2.

1160

1781 MOZART TO HIS FATHER L. 434

goitre. In short, the fellow seems to have changed com
pletely. The Duke of Wurtemberg, however, is a charming
person and so are the Duchess and the Princess. But the
Prince, who is eighteen, is a regular stick and an out-and-
out calf.

Well, I must close. Farewell and be as cheerful as
possible! I kiss your hands a thousand times and embrace
my dear sister with all my heart and am ever your most
obedient son

W. A. MOZART

(434) Mozart to his Father

[Autograph in the Mozarteum, Salzburg]
MON TRfeS CHER PERE! VlENNE, C6 24 Nov*"t 1781

I happened to be at Aurnhammer's concert yester
day, when Ceccarelli brought your letter to my lodging.
So, as he did not find me in, he left it with the Webers,
who at once sent it on to me. At the concert there were
Countess Thun (whom I had invited), Baron van Swieten,
Baron Godenus, the rich converted Jew Wetzlar,1 Count
Firmian, Herr von Daubrawaick and his son. We played
the concerto a due2 and a sonata for two claviers,3 which
I had composed expressly for the occasion and which was
a great success. I shall send you this sonata by Herr von
Daubrawaick, who said he would be proud to have it lying
in his trunk. The son told me this and, mark you, he is a
native of Salzburg, The father, however, when he was
leaving, said aloud to me: "I am proud of being your

1 Baron Raimund Wetzlar von Plankenstern (1752-1810). Mozart and
his wife occupied the third floor of his house at the Hohe Briicke 412 (now
no. 17) from December 1782 until March 1783. He was godfather to their
first child, Raimund Leopold, and appears to have helped them financially.

2 K. 365, concerto in E^for two claviers, composed in 1779.

3 K. 448, sonata in D major for two claviers.

L. 434 MOZART TO HIS FATHER 1781

countryman. You are doing Salzburg great credit. I hope
the times will change so that we shall have you back again,
and then most certainly we shall not let you go." My
reply was: "My own country will always have the first
claim upon me". I have seen Herr Gschwendner once at
the theatre and once at the Redoute. As soon as I meet
him again, I shall ask him when he is leaving. Kersch-
baumer, the king of the Moors, is also in Vienna; and
when I went to see Mme Contrarini (who is living in this
house and also on the third floor), in order to borrow a
domino from her, who should walk in but Freysauf * and
Atzwanger.2 One damned Salzburger after another!

The Grand Duke,3 the big noise, has arrived. To
morrow "Alceste" 4 is to be given (in Italian) at Schon-
brunn, followed by a free Redoute. I have been looking
about for Russian popular songs, so as to be able to play
variations on them.5

My sonatas 6 have been published and I shall send
them to you as soon as I get a chance.

No doubt Ceccarelli will want to give a concert with
me. But he won't succeed, for I don't care about going
shares with people. All that I can do, as I intend to give
a concert in Lent, is to let him sing at it and then to play
for him gratis at his own.

Well, I must close, for I must be off to Frau von
Trattner.7 Some time during the next few days I shall
reply to my dear sister, whom I embrace with all my heart.

1 Anton Freysauf, who with his brother Franz kept a shop in the Juden-
gasse.

2 Probably a son of Raimund Felix Atzwanger (1726-1804), a wealthy
grocer and town councillor of Salzburg.

3 The Grand Duke Paul Petrovitch of Russia.

4 Gluck's "Alceste" was not performed until December 3rd.

5 There is no trace of these compositions, if Mozart ever wrote them down.

6 The six violin and clavier sonatas, K. 296 and 376-380. They were dedi
cated to Mozart's pupil, Josephine Aurnhammer.

7 See p. 1148, n. 2.

Il62

ij8i MOZART TO HIS FATHER L. 435

Dearest, most beloved father, I kiss your hands a thousand
times and am ever your most obedient son

W. A. MOZART

(435) Mozart to his Father

[Autograph in the Mozarteum, Salzburg]
MON TRES CHER PERE! VlENNE, ce 5 de Dec*", 1781

I have had no letter from you to-day, so I shall send
you all the news I have heard, which -is, indeed, little
enough and most of it made up. That is just the reason
why I never send you any, because I am afraid of dis
gracing myself. For example, General Laudon was
positively dead — and is now risen again, fortunately for
the house of Austria! * The Grand Duke is to remain here
until the New Year and the Emperor is wondering how
he is going to entertain him for such a long time. But to
avoid racking his brains too much — he is not entertaining
him at all. It is quite enough, he thinks, if he looks after
(the Grand Duchess,) and for this <he himself suffices.)
There was horrible confusion at the Schonbrunn ball. As
the admirable arrangements made it perfectly easy to
foresee what would happen, Herr Ego did not put in an
appearance, for he is no lover of crushes, digs in the ribs
and blows, even if they happen to be (Imperial) ones!
Strobel, the Court messenger, had to distribute the tickets,
and three thousand people were expected. It was publicly
announced that everyone could be entered on the list by
applying to Strobel. So they all went, and Strobel took
down their names, and all they had to do was to send for
their tickets. A few very eminent persons had theirs sent
to their houses, this commission being entrusted to any
scamp who chanced to be loitering about. Well, it

1 Laudon lived until 1790. He had been in poor health for some time.

1163

L. 435 MOZART TO HIS FATHER 1781

happened that a fellow asked someone he met on the stairs

whether his name was so-and-so, and for a joke he said it

was and thus secured the ticket. I know of two families who

owing to this lack of organisation got no tickets. They

were on the list, but when they sent for their tickets,

Strobel replied that he had despatched them long ago. In

this way the ball was full of friseurs and housemaids.

But now for the most amusing part of the story, which has

greatly incensed (the nobility. The Emperor) walked

about the whole time with (the Grand Duchess) on his

arm. The nobility had arranged two sets of contredanses

— Romans and Tartars. Into one of these sets the Viennese

mob, who are never particularly civil, pushed themselves

so roughly that they forced (the Grand Duchess to let go)

the (Emperor's) arm, and shoved her forward among the

dancers. (The Emperor) began to stamp furiously, cursed

like a lazzarone, pushed back a crowd of people and

dealt blows right and left. Some of the Hungarian

Guards wanted to support him and help him to clear a

space, but he sent them off. All I say is that it serves him

right. For what else can you expect from a mob? I have

this moment received your letter of November 27th. It is

quite true that, out of love for the Princess, (the Emperor)

drove out to meet the Duke of Wurtemberg. This affair is

an open secret in Vienna, but no one knows whether she is

going to be a morsel for himself or for some Tuscan prince.

Probably the latter. All the same (the Emperor) is far too

(loving) with her for my taste. He is always kissing her

hands, first one and then the other, and often both at once.

I am really astonished, because she is, you might say, still

a child. But if it be true, and what people predict does

happen, then I shall begin to believe that in his case

charity begins at home. For she is to remain here in a

convent for two years — and — probably — if there is no

hitch — she will become my pupil on the clavier.

1164

I78i MOZART TO HIS FATHER L. 436

I know the bassoon-player well whom they want to
foist on the Archbishop. He plays second to Ritter at the
opera. You say that I must not forget you! That you
rejoice to think that I do not, gives me the greatest
pleasure. But if you could believe it possible that I should
forget you, that indeed would pain me dreadfully. You
say that I must remember that I have an immortal soul.
Not only do I think it, but I firmly believe it. If it were
not so, wherein would consist the difference between men
and beasts? Just because I both know and most firmly
believe this, I have not been able to carry out all your
wishes exactly in the way you expected. Now farewell. I
kiss your hands a thousand times and embrace my sister
with all my heart and am ever your most obedient son

W. A. MOZART

(436) Mozart to his Father

[Autograph in the Mozarteum, Salzburg}
MON TRES CHER ?ERE! VlENNE, ce 1 5 de Dec*", 1 78 1

I have this moment received your letter of the I2th.
Herr von Daubrawaick will bring you this letter, the
watch, the Munich opera,1 the six engraved sonatas,2
the sonata for two claviers3 and the cadenzas.4 As for
the Princess of Wurtemberg and myself, all is over. The
Emperor has spoilt everything, for he cares for no one but
Salieri. The Archduke Maximilian recommended me to
her and she replied that had it rested with her, she would
never have engaged anyone else, but that on account of her
singing the Emperor had suggested Salieri. She added
that she was extremely sorry. What you tell me about the

1 "Idomeneo." 2 See p. 1162. n. 6.

3 K. 448, composed in November 1781. 4 See p. 1155, n. i.

1165

L. 436 MOZART TO HIS FATHER 1781

House of Wurtemberg and yourself may possibly prove
useful to me.

Dearest father! You demand an explanation of the

words in the closing sentence of my last letter! Oh, how

gladly would I have opened my heart to you long ago, but

I was deterred by the reproaches you might have made to

me for thinking of such a thing at an unseasonable time

— although indeed thinking can never be unseasonable.

Meanwhile I am very anxious to secure here a small but

certain income, which, together with what chance may

provide, will enable me to live here quite comfortably —

and then — to marry! You are horrified at the idea? But

I entreat you, dearest, most beloved father, to listen to

me. I have been obliged to reveal my intentions to you.

You must, therefore, allow me to disclose to you my

reasons, which, moreover, are very well founded. The

voice of nature speaks as loud in me as in others, louder,

perhaps, than in many a big strong lout of a fellow. I

simply cannot live as most young men do in these days.

In the first place, I have too much religion; in the second

place, I have too great a love of my neighbour and too

high a feeling of honour to seduce an innocent girl; and,

in the third place, I have too much horror and disgust, too

much dread and fear of diseases and too much care for my

health to fool about with whores. So I can swear that I

have never had relations of that sort with any woman.

Besides, if such a thing had occurred, I should not have

concealed it from you; for, after all, to err is natural enough

in a man, and to err once would be mere weakness —

although indeed I should not undertake to promise that

if I had erred once in this way, I should stop short at one

slip. However, I stake my life on the truth of what I have

told you. I am well aware that this reason (powerful as it

is) is not urgent enough. But owing to my disposition,

which is more inclined to a peaceful and domesticated

1166

I78i MOZART TO HIS FATHER L. 436

existence than to revelry, I who from my youth up have
never been accustomed to look after my own belong
ings, linen, clothes and so forth, cannot think of anything
more necessary to me than a wife. I assure you that I am
often obliged to spend unnecessarily, simply because I do
not pay attention to things. I am absolutely convinced
that I should manage better with a wife (on the same
income which I have now) than I do by myself. And how
many useless expenses would be avoided! True, other
expenses would have to be met, but — one knows what
they are and can be prepared for them — in short, one
leads a well-ordered existence. A bachelor, in my opinion,
is only half alive. Such are my views and I cannot help it.
I have thought the matter over and reflected sufficiently,
and I shall not change my mind. But who is the object of
my love? Do not be horrified again, I entreat you. Surely
not one of the Webers? Yes, one of the Webers — but not
Josefa,1 nor Sophie,2 but Constanze,3 the middle one. In
no other family have I ever come across such differences
of character. The eldest is a lazy, gross, perfidious woman,
and as cunning as a fox. Mme Lange4 is a false,
malicious person and a coquette. The youngest — is still
too young to be anything in particular — she is just a good-
natured, but feather-headed creature! May God protect
her from seduction! But the middle one, my good, dear

1 Josefa Weber (1758-1819), the eldest daughter. She became a singer
and took the part of the "Konigin der Nacht" in the first performances of
the "Zauberflote" in Vienna. She married in 1788 Franz de Paula Hofer(i7S5-
1796), an excellent violinist, and, after his death, Friedrich Sebastian Mayer
(I773-I^35), a well-known actor. See Bliimml, p. 1 19 ff.

2 Maria Sophie Weber (1767-1846), the youngest daughter. She married
in 1806 the composer Jakob Haibel (] 761-1826), who occasionally sang in
Schikaneder's productions in Vienna.

3 Constanze Weber (1763-1842), the third daughter. The best account of
Constanze's life and character is to be found in A. Schurig, Konstanze
Mozart (Dresden, 1922). See also Farmer and Smith, New Mozartiana
(Glasgow, 1935), pp. 29-52.

4 Aloysia Weber (1760-1839), the second daughter,

1167

Z. 436 MOZART TO HIS FATHER 1781

Constanze, is the martyr of the family and, probably for
that very reason, is the kindest-hearted, the cleverest and,
in short, the best of them all. She makes herself responsible
for the whole household and yet in their opinion she does
nothing right. Oh, my most beloved father, I could fill
whole sheets with descriptions of all the scenes that I have
witnessed in that house. If you want to read them, I shall
do so in my next letter. But before I cease to plague you
with my chatter, I must make you better acquainted with
the character of my dear Constanze. She is not ugly, but at
the same time far from beautiful. Her whole beauty con
sists in two little black eyes and a pretty figure. She has no
wit, but she has enough common sense to enable her to
fulfil her duties as a wife and mother. It is a downright lie
that she is inclined to be extravagant. On the contrary,
she is accustomed to be shabbily dressed, for the little that
her mother has been able to do for her children, she has
done for the two others, but never for Constanze. True,
she would like to be neatly and cleanly dressed, but not
smartly, and most things that a woman needs she is able
to make for herself; and she dresses her own hair every
day. Moreover she understands housekeeping and has the
kindest heart in the world. I love her and she loves me
with all her heart. Tell me whether I could wish myself a
better wife?

One thing more I must tell you, which is that when I
resigned the Archbishop's service, our love had not yet
begun. It was born of her tender care and attentions when
I was living in their house.

Accordingly, all that I desire is to have a small assured
income (of which, thank God, I have good hopes), and
then I shall never cease entreating you to allow me to save
this poor girl — and to make myself and her — and, if I
may say so, all of us very happy. For you surely are happy
when I am? And you are to enjoy one half of my fixed

1168

CONSTANZE MOZART, NEE WEBER (1782)

From a portrait by Josef Lange
(Hunterian Museum, University of Glasgow)

1781 MOZART TO HIS SISTER Z. 4360

income. My dearest father, I have opened my heart to you
and explained my remarks. It is now my turn to beg you to
explain yours in your last letter. You say that I cannot
imagine that you were aware of a proposal which had
been made to me and to which I, at the time when you
heard of it, had not yet replied. I do not understand one
word of this — I know of no such proposal. Please take pity
on your son! I kiss your hands a thousand times and
am ever your most obedient son

W. A. MOZART

(436a) Mozart to his Sister

[From Ludwig Nohl, Mozarts Brief e^ 2nd edition, p. 322]
MA TRES CHERE S(EUR! VIENNA, December l$th, 1 78 11

Here are the six engraved sonatas 2 and the sonata
for two claviers.3 I hope you will like them. Only four will
be new to you.4 The copyist was not able to finish the
variations,5 which I shall send you in my next letter.

Dear sister! I have beside me a letter which I began to
you,6 but as I have written a long letter to Papa, I have
not been able to go on with yours. So please be content
this time with this cover, and I shall write to you by
the next post. Addio, farewell. I kiss you a thousand times
and am ever your sincere brother

W. A. MOZART

1 A postscript written on the cover of the letter to his father.

2 K. 296, 376-380. 3 K. 448.

4 K. 296 and 378 had been composed before Mozart went to Vienna,
s K. 359, 360, 352.

6 The following letter (Letter 437), begun on the I5th and finished on the
22nd of December.

VOL. Ill 1169

Z. 437 MOZART TO HIS SISTER 1781

(437) Mozart to his Sister

[Autograph in the Mozarteum, Salzburg]

MA TRES CHERE SCEUR! VlENNE, ce 15 de Decem*™, 1781*
I thank you for all the news you have sent me. Here are
my six sonatas. Only four of them will be new to you. It is
not possible to let you have the variations, as the copyists
are too busy. But as soon as I can, I shall send them to you.

December 22nd. Meanwhile you will have received
the cover,2 in which I sent a letter to my father. Herr
von Daubrawaick has returned the opera,3 so I must
look about for some other opportunity of sending it to
Salzburg. Indeed Ceccarelli would have been taken aback,
had you accepted his offer, for when I spoke to him about
it, he quickly replied: "Certo, Tavrei presa meco subito".4
And when I asked him why he had not done so, he had no
better reason to give than "Where could I have put her
here?" "Oh — as to that/' I replied, "there would have
been no difficulty, for I know plenty of houses where
they would have been delighted to put her up." And,
indeed, it is quite true. If you find a good opportunity of
coming to Vienna for a time, just write and let me know
beforehand.

Do you not think that "Das Loch in der Thur"5 is a
good comedy? But you ought to see it performed here.
"Die Gefahren der Verfiihrung"6 is also a capital piece.
"Das offentliche Geheimnis"7 is only endurable if one

1 The beginning of this letter was written before the postscript to Letter
436. Mozart continued the letter on December 22nd.

2 See Letter 436a. 3 "Idomeneo."

4 Certainly, I would have taken her with me at once.
s Seep. 1109, n. i.

6 It has not been possible to discover the author of this play.

7 A German translation of Carlo Gozzi's "II pubblico segreto", which
was an adaptation of Calderon's "El secreto a voces". Gozzi's comedy was
first performed at Modena on May 2Oth, 1769. '

1170

i?8i MOZART TO HIS SISTER L. 437

remembers that it is an Italian play, for the Princess's
condescension to her servant is really too indecent and
unnatural. The best part of this play is — the public secret
itself — I mean, the way in which the two lovers, though
preserving their secret, still contrive to communicate with
one another publicly. What is the name of the acrobat?
Elias Vogt is with Bohm and little Peter1 is in Berlin. It
was real news to me that Feigele has gone home and that
Andretter is back in Salzburg.

I cannot send you any news, my dear sister, because at
the moment I have none. In regard to our old acquaint
ances I must tell you that I have only been out once to
see Frau von Mesmer.2 The house is no longer what it was.
If I want to get a free meal, I need not drive out to the
Landstrasse for it, for there are plenty of houses in town
to which I can go on foot. The Fischers are living in the
Tiefer Graben where I scarcely ever happen to go; but if
my way does take me in that direction, I pay them a visit
of a few minutes, since I really cannot endure for longer
their tiny, overheated room and the wine on the table. I
am well aware that people of their class consider this to
be the greatest possible compliment, but I am no lover of
such compliments and still less of people of that type. I
have not yet seen a single one of the Breans. I have
talked quite often to Grill (who is now married) and to
Heufeld. As for my shooting fund, I do not know either
what is to be done. Surely there is some money there,
some interest, I mean, on the hundred gulden? Why, you
will just have to take some of it. Perhaps I shall be more
fortunate next year. What about the target?

Good God! I have received this very moment a letter
from my dearest and most beloved father! How can there

1 See p. 1049, n- 3-

2 The wife of Dr. Franz Anton Mesmer, who in the meantime had settled
in Paris.

1171

Z. 438 MOZART TO HIS FATHER 1781

be such monsters in the shape of men? But patience! my
rage and fury are such that I cannot write any more; but
do tell him that I shall reply to his letter by the next post
and that I shall convince him that there are men who are
worse — than devils. In the meantime let him be easy in
his mind. Say that his son is possibly more worthy of him
than he thinks. Adieu. I kiss my dearest, most beloved
father's hands a thousand times and embrace you, my
dearest sister, with all my heart and am ever your sincere
brother

W. A. MOZART

A thousand compliments to M. D'Yppold. Adieu.

(438) Mozart to his Father

[Autograph in the Mozarteum, Salzburg]
MON TRES CHER PERE! VlENNE, ce 22 X*", 1 78 1

I am still full of rage and fury at the disgraceful
lies of that arch- villain Winter1 — and yet I am calm and
composed, because they do not affect me — and delighted
and contented with my most inestimable, most dear and
most beloved father. But I could never have expected
anything else from your good sense, and your love and
kindness to me. No doubt by this time you will have
received my letter with the confession of my love and my
intentions, and you will have gathered from it that I shall

1 Peter von Winter (1754-1825), born in Mannheim, joined the Mannheim
orchestra as violinist in 1775. In 1794 he became Vice- Kapellmeister to the
Munich court orchestra, and in 1798 Kapellmeister. From 1793 to 1797 he
had nine operas performed at the Burgtheater and Schikaneder's theatre in
Vienna. He also composed a great deal of church music. He was in Vienna
during the winter of 1781 for the production of three ballets, for which he
had written the music.

1172

1781 MOZART TO HIS FATHER L. 438

not be so foolish as to marry rashly in my twenty-sixth
year without having some certain income — and thaf I
have very well founded reasons for getting married as
soon as possible — and that, from the description of her
which I gave you, my girl will be a very suitable wife for
me. For she is just as I have described her, not one whit
better or worse. As for the marriage contract, I want to
make the most frank confession, fully convinced as I am
that you will forgive me for taking this step; for had you
been in my place, you would most certainly have done the
same thing. But for one thing alone I ask your pardon —
that is, that I did not tell you all about this long ago. In
my last letter I apologised to you for my delay and gave
you the reason which deterred me. So I hope that you will
forgive me, particularly as no one has suffered more by
it than I have — and even if you had not provided the
occasion for doing so in your last letter, I should have
written to you and disclosed everything. For, by Heaven,
I could not have stood it — much — much longer.

Well, let's come to the marriage contract, or rather to
the written assurance of my honourable intentions towards
the girl. You know, of course, that as the father is no
longer alive (unhappily for the whole family as well as for
my Constanze and myself) a guardian1 has taken his place.
Certain busybodies and impudent gentlemen like Herr
Winter must have shouted in the ears of this person (who
doesn't know me at all) all sorts of stories about me — as,
for example, that he should beware of me — that I have no
settled income — that I was far too intimate with her —
that I should probably jilt her — and that the girl would
then be ruined, and so forth. All this made him smell a

1 Johann von Thorwart (1737-^. 1813). From 1776 to 1791 he was in charge
of the financial affairs of the National Theatre in Vienna, and was Count
Rosenberg's right hand. For a full study of Thorwart's strange career see
Blumml, p. 54 ff.

1173

L. 438 MOZART TO HIS FATHER i78i

rat — for the mother who knows me and knows that I am
honourable, let things take their course and said nothing
to him about the matter. For my whole association with
her consisted in my lodging with the family and later in
my going to their house every day. No one ever saw me
with her outside the house. But the guardian kept on
pestering the mother with his representations until she
told me about them and asked me to speak to him myself,
adding that he would come some day to her house. He
came— and we had a talk — with the result (as I did not
explain myself as clearly as he desired) that he told the
mother to forbid me to associate with her daughter until
I had come to a written agreement with him. The mother
replied: "Why, his whole association with her consists in
his coming to my house, and — I cannot forbid him my
house. He is too good a friend — and one to whom I owe a
great deal. I am quite satisfied. I trust him. You must
settle it with him yourself." So he forbade me to have any
thing more to do with Constanze, unless I would give him
a written undertaking. What other course was open to me?
I had either to give him a written contract or — to desert
the girl. What man who loves sincerely and honestly can
forsake his beloved? Would not the mother, would not
my loved one herself place the worst interpretation upon
such conduct? That was my predicament. So I drew up a
document to the effect that I bound myself to marry Mile
Constanze Weber within the space of three years and that
if it should prove impossible for me to do so owing to my
changing my mind, she should be entitled to claim from me
three hundred gulden a year. Nothing in the world could
have been easier for me to write. For I knew that I should
never have to pay these three hundred gulden, because I
should never forsake her, and that even should I be so un
fortunate as to change my mind, I should only be too glad
to get rid of her for three hundred gulden, while Constanze,

1174

Ij8i MOZART TO HIS FATHER L. 438

if I know her, would be too proud to let herself be sold.
But what did the angelic girl do when the guardian was
gone? She asked her mother for the document, and said
to me: "Dear Mozart! I need no written assurance from
you. I believe what you say', and tore up the paper. This
action made my dear Constanze yet more precious to me,
and the document having been destroyed and the guardian
having given his parole dhonneur to keep the matter to
himself, I was to a certain extent easy in my mind on
your account, my most beloved father. For I had no fear
but that ultimately you would give your consent to our
marriage (as the girl has everything but money), because
I know your sensible ideas on this subject. Will you for
give me? Indeed I hope so! Nor do I doubt it for a
moment. Well, now I want to talk about those black
guards (however repulsive it may be to me). I believe that
Herr Reiner's only disease was that he was not quite right
in the head. I happened to meet him in the theatre, where
he gave me a letter from Ramm. I asked him where he
was lodging, but he could neither tell me the street nor the
house, and he cursed the day when he had let himself be
persuaded to come here. I offered to present him to the
Countess1 and to introduce him wherever 1 had the entree;
and I assured him that if he found he could not give a
concert, I should certainly take him to the Grand Duke.2
All he said was: "Pooh! There is nothing to be done here.
I shall go off at once." "Only have a little patience/' I said,
"and since you cannot tell me where you lodge, I shall
give you my address, which is easy to find/' However, I
saw nothing more of him. I made enquiries, but by the
time I had found out where he was living, he had left. So
much for this gentleman. As for Winter, if he deserves to
be called a man (for he is married) or at least a human

1 The Countess Thun.
2 The Grand Duke Paul Petrovitch of Russia.

1175

L. 438 MOZART TO HIS FATHER 1781

being, I may say that on account of Vogler he has always
been my worst enemy.1 Since, however, he is a beast in his
way of living and a child in the rest of his conduct and
actions, I should be ashamed to write a single word about
him. For he thoroughly deserves the contempt of every
man of honour. So I shall not tell infamous truths about
him in return for the infamous lies he has told about me,
but — give you instead some account of my own manner
of life.

Every morning at six o'clock my friseur arrives and
wakes me, and by seven I have finished dressing. I com
pose until ten, when I give a lesson to Frau von Trattner
and at eleven to the Countess Rumbeck, each of whom pays
me six ducats for twelve lessons and to whom I go every
day, unless they put me off, which I do not like at all. I
have arranged with the Countess that she is never to put
me off, I mean that, if I do not find her at home, I am at
least to get my fee; but Frau von Trattner is too eco-
non\ical for that. I do not owe a single kreutzer to any
man. I have not heard a word about any amateur concert
where two persons played very finely on the clavier. And
I must tell you candidly that I do not think it worth the
trouble to reply to all the filth which such a lousy cad and
miserable bungler may have said. He only makes himself
ridiculous by doing so. If you really believe that I am
detested at court and by the old and new aristocracy,
just write to Herr von S track, the Countess Thun, the
Countess Rumbeck, Baroness Waldstadten, Herr von
Sonnenfels, Frau von Trattner, enfin, to anyone you
choose. Meanwhile let me tell you that at table the other
day the Emperor gave me the very highest praise, ac
companied by the words: "Cest un talent decide!" and
that the day before yesterday, December 24th, I played

1 Peter von Winter was one of Abt Vogler's most loyal friends and
supporters.

1176

i?8i MOZART TO HIS FATHER L. 438

at court.1 Another clavier-player, an Italian called
dementi,2 has arrived here. He too had been invited to
court. I was sent fifty ducats yesterday for my playing,
and indeed I need them very badly at the moment.

My dearest, most beloved father, you will see that little
by little my circumstances will improve. Of what use is a
great sensation — and rapid success? It never lasts. Chiva
piano, va sano? One must just cut one's coat according to
one's cloth. Of all the mean things which Winter said, the
only one which enrages me is that he called my dear
Constanze a slut. I have described her to you exactly as
she is. If you wish to have the opinion of others, write to
Herr von Aurnhammer, to whose house she has been a few
times and where she has lunched once. Write to Baroness
Waldstadten, who had her at her house, though, un
fortunately, for a month only, because she, the Baroness,
fell ill. Now Constanze's mother refuses to part with her
and let her go back. God grant that I may soon be able
to marry her.

Ceccarelli sends you his greetings. He sang at court
yesterday. There is one thing more I must tell you
about Winter. Among other things he once said to me:
"You are a fool to get married. Keep a mistress. You
are earning enough money, you can afford it. What pre
vents you from doing so? Some damned religious scruple?"
Believe JLOW what you will. Adieu. I kiss your hands a

1 Mozart did nqt finish this letter, begun on December 22nd, until
December 26th.

* Muzio dementi (1752-1832), a famous composer for the pianoforte. He
was born in Rome, where Peter Beckford, cousin of William Beckford, the
author of Vathek, discovered him in 1766 and took him to England, where
he was trained to be a musician. Clementi was conductor at the Italian Opera
in London from 1777 until 1780. In 1781 he started on his travels to the
various capitals of Europe and returned to England the following year, where
he remained until 1802. He then spent eight years touring as a performer on
the pianoforte, and again returned to England, where he remained until his
death. He taught J. B. Cramer and John Field.

3 . Slow and steady wins the race.

1177

Z. 439 ' MOZART TO HIS FATHER 1782

thousand times and embrace my dear sister with all my
heart and am ever your most obedient son

W. A. MOZART

The address of the Baroness is

A Madame La Baronne de Waldstadten
nee de S chafer

a Vienne
Leopoldstadt no. 360.

(439) Mozart to his Father

{Autograph in the Mozarteum, Salzburg}

MON TRES CHER PERE! VlENNE, ce 9 de Janvier, 1782

I have not yet received a reply to my last letter,
which accounts for my not having written to you by the
last post. I do hope I shall have a letter from you to-day.
As in my last letter, though without being aware of it, I
partly replied in advance to yours of December 28th, I
must first await your reply.

Meanwhile I must inform you that the Pope is supposed
to "be coming to Vienna.1 The whole town is talking about
it. But I do not believe it, for Count Cobenzl told me that
the Emperor will decline his visit. The Russian Royalties
left on the 5th. Well, I have just been to Peisser's myself to
see whether there was a letter from you, and I have sent
again; it is almost five o'clock. I cannot understand why
I do not hear from you! Can it be that you are so angry
with me? You may be annoyed with me for having so long
concealed the affair from you, and no doubt you are right.
But if you have read my apology, surely you can forgive
me. And surely you cannot be vexed with me for wishing

1 Pius VI (1717-1799), formerly Cardinal Braschi, who succeeded
Clement XIV in 1775. He visited Vienna in order to obtain from the
Emperor a promise that the latter' s ecclesiastical reforms would not contain
any violation of Catholic dogmas nor compromise the dignity of the Pope.
Though magnificently received, his mission on the whole proved a failure.

1178

1782 MOZART TO HIS FATHER L. 440

to marry? I believe that in my wishing to do so you will
have been able to recognise what is best of all, my religion
and my honourable feelings. Oh, I could say a great deal
more in reply to your last letter and make many re
monstrances, but my maxim is: what does not affect me I
do not consider it worth while to discuss. I cannot help it
— such is my nature. I am really shy of defending myself,
when I am falsely accused. I always think that the truth
will come out some day. Well — I cannot write anything
more "to you on the subject, because I have not yet
received a reply to my last letter. I have no news. So
farewell. Once more I ask your forgiveness and implore
you to be indulgent and merciful towards me. I never can
be happy and contented without my dearest Constanze,
and without your approval I shall only be so in part. So
make me altogether happy, my dearest, most beloved
father! I entreat you to do so. I am ever your most

obedient son TTr A ...

W. A. MOZART

P.S. — I kiss my dearest sister a thousand times with all
my heart. Fraulein von Aurnhammer played the treble in
the sonata for two claviers.1

(440) Mozart to his Father

[Autograph in the Mozarteum, Salzburg]

MON TRES CHER FERE! VlENNE, ce 12 de Janvier > 1782

I have begun a reply to your last letter of January
7th, but I cannot possibly finish it, as a servant of
Countess Rumbeck has just come with an invitation to a
small musical party at her house. Well, I must first have
my hair dressed and I must change all my clothes. So,
although I do not wish to leave you entirely without any
news of me, I cannot write very much.

' K. 448.

1179

L. 441 MOZART TO HIS FATHER 1782

Clement! plays well, so far as execution with the right
hand goes. His greatest strength lies in his passages in
thirds. Apart from this, he has not a kreutzer's worth of
taste or feeling — in short he is simply a mechanicus.

The friseur has arrived, so I must close. In my next
letter I shall tell you more about dementi. I entreat you
to make me happy by giving me your approval — I im
plore you to do so. I am convinced that you will learn to
love my dear Constanze. I kiss your hands a thousand
times and am ever your most obedient son

W. A. MOZART

I embrace my dear sister with all my heart.
(441) Mozart to his Father

[Autograph in the Mozarteum, Salzburg]

MON TRES CHER PERE! VlENNE, ce 16 de Janvier, 1782
I thank you for your kind and affectionate letter. If
I were to give you detailed replies to every point, I should
have to fill a quire of paper. As this is impossible, I shall
deal only with the most important of them. The guardian's
name is Herr von Thorwart; he is Inspector of theatrical
properties, that is to say, everything connected with the
theatre has to pass through his hands; the Emperor's fifty
ducats were sent to me through him; I applied to him too
about my concert in the theatre, as most matters of this
kind depend on him and because he has much influence
with Count Rosenberg and Baron Kienmayr.1 I must con
fess that I myself thought that he would disclose the whole
affair to you without saying a word to me on the subject.
This he has not done. But (notwithstanding his word of
honour) he has told the story to the whole town of Vienna,

1 Johann Michael, Baron von Kienmayr (1727-1792), vice-manager of the
Vienna court theatre.

1180

1782 MOZART TO HIS FATHER L. 441

which has very much shaken the good opinion I once had
of him. I quite agree with you in thinking that Madame
Weber and Herr von Thorwart have been to blame in
showing too much regard for their own interests, though
the Madame is no longer her own mistress and has to
leave everything, particularly all matters of this kind, to
the guardian, who (as he has never made my acquaintance)
is by no means bound to trust me. But that he was too
hasty in demanding from me a written undertaking is
undeniable, especially as I told him that as yet you knew
nothing about the affair and that at the moment I could
not possibly disclose it to you. I asked him to have
patience for a short time until my circumstances should
take another turn, when I should give you a full ac
count of everything and then the whole matter would
be settled. However, it is all over now; and love must be
my excuse. Herr von Thorwart did not behave well, but
not so badly that he and Madame Weber "should be put
in chains, made to sweep streets and have boards hung
round their necks with the words ( seducers of youth3 ".
That too is an exaggeration. And even if what you say were
true, that in order to catch me she opened her house, let me
have the run of it, gave me every opportunity, etc.,- even so
the punishment would be rather drastic. But I need hardly
tell you that it is not true. And it hurts me very much to
think that you could believe that your son could frequent
a house where such things went on. Let me only say that
you should believe precisely the opposite of all you have
been told. But enough of this. Now a word about
dementi. -He is an excellent cembalo-player, but that is
all. He has great facility with his right hand. His star
passages are thirds. Apart from this, he has not a farthing's
worth of taste or feeling; he is a mere mechanicus. -

After we had stood on ceremony long enough, the
Emperor declared that dementi ought to begin. "La

1181

Z. 441 MOZART TO HIS FATHER 1782

Santa Chiesa Cattolica", he said, Clementi being a
Roman. He improvised and then played a sonata.1 The
Emperor then turned to me: "Allons,. fire away". I
improvised and played variations. The Grand Duchess
produced some sonatas by Paisiello 2 (wretchedly written
out in his own hand), of which I had to play the Allegros
and Clementi the Andantes and Rondos. We then
selected a theme from them and developed it on two piano
fortes. The funny thing was that although I had borrowed
Countess Thun's pianoforte, I only played on it when I
played alone; such was the Emperor's desire — and, by
the way, the other instrument was out of tune and three
of the keys were stuck. "That doesn't matter" , said the
Emperor. Well, I put the best construction on it I could,
that is, that the Emperor, already knowing my skill and
my knowledge of music, was only desirous of showing
especial courtesy to a foreigner. Besides, I have it from a
very good source that he was extremely pleased with me.3
He was very gracious, said a great deal to me privately, and
even mentioned my marriage. Who knows? Perhaps —
what do you think? At any rate I might make the
attempt. More of this in my next letter. Farewell. I kiss
your hands a thousand times and embrace ray dear sister
with all my heart and am ever your most obedient son

W. A. MOZART.

1 In the next edition which was published of this sonata Clementi headed
it with the remark: "Cette sonate, avec la toccata qui la suit, a ete jouee par
1'auteur devant Sa Majeste Joseph II en 1781, Mozart etant present". It is
generally accepted that the first movement of dementi's sonata gave Mozart
the idea for the theme of the opening allegro in his ouverture to the "Zauber-
flote".

2 Giovanni Paisiello (1740-1816), an eminent composer of the Neapolitan
school and a rival of Piccinni, who wrote over a hundred operas and many
other works. During the years 1776-1784 he lived in St. Petersburg and
dedicated some clavier compositions to the Grand Duchess.

3 Bridi in his Brevi notizie, p. 51 f,, when describing this competition,
states that the Emperor had laid a wager with the Grand Duchess that
Mozart would excel, and won it,

1182

1782 MOZART TO HIS FATHER L. 442

(442) Mozart to his Father

[Autograph in the Mozarteum^ Salzburg]

MON TRES CHER P^RE! VlENNE, ce 23 de Janvier, 1782
There is nothing more disagreeable than to be
obliged to live in uncertainty, not knowing what is happen
ing. Such is my case at the moment with regard to my
concert; and it is the same with everyone who wishes to
give one. Last year the Emperor intended to continue the
plays throughout Lent; perhaps he may do so this year.
Basta! At all events I have secured the day (if there is no
play), namely, the third Sunday in Lent. If I know a
fortnight ahead, I shall be satisfied; otherwise my whole
plan will be upset, or I shall be obliged to incur expenses
for nothing. Countess Thun, Adamberger and other good
friends of mine are advising me to select the best scenes
from my Munich opera1 and have them performed in the
theatre, and myself to play only one concerto and to impro
vise at the close. I too had thought of this and I have now
quite decided to do so, particularly as dementi is also giving
a concert. So I shall have a slight advantage over him, the
more so as I shall probably be able to give mine twice.

I have enquired at Peisser's, but no letter has arrived.
Well, I want to give you my opinion as to my prospects
of a small permanent income. I have my eye here on
three sources. The first is not certain, and, even if it
were, would probably not be much; the second would be
the best, but God knows whether it will ever come to
pass; and the third is not to be despised, but the pity is
that it concerns the future and not the present. The first is
young Prince Liechtenstein,2 who would like to collect a

1 "Idomeneo."

2 Prince Alois Josef, nephew of Prince Karl Borromaus Josef Liechten
stein (1730-1789), Imperial Field-marshal.

1183

L. 442 MOZART TO HIS FATHER j7&?

wind-instrument band (though he does not yet want it to
be known), for which I should write the music. This would
not bring in very much, it is true, but it would be at least
something certain, and I should not sign the contract
unless it were to be for life. The second (in my estimation,
however, it is the first) is the Emperor himself. Who
knows? I intend to talk to Herr von Strack about it and
I am certain that he will do all he can, for he has proved to
be a very good friend of mine; though indeed these court
flunkeys are never to be trusted. The manner in which the
Emperor has spoken to me has given me some hope.
Great lords do not like to hear these speeches, and,
needless to say, they themselves do not make them; for
they must always expect a stab in the back and are great
adepts in avoiding it. The third is the Archduke Maxi
milian. Now of him I can say that he thinks the world of
me. He shoves me forward on every occasion, and I might
almost say with certainty that if at this moment he were
Elector of Cologne, I should be his Kapellmeister. It is,
indeed, a pity that these great gentlemen refuse to make
arrangements beforehand. I could easily manage to
extract a simple promise from him, but of what use would
that be to me now? Cash would be more acceptable.
Dearest, most beloved father! If I could have it in writing
from God Almighty that I shall keep in good health and
not get ill, ah! then I should marry my dear, faithful girl
this very day. I have three pupils now,1 which brings me in
eighteen ducats a month; for I no longer charge for twelve
lessons, but monthly. I learnt to my cost that my pupils
often dropped out for weeks at a time; so now, whether
they learn or not, each of them must pay me six ducats. I
shall get several more on these terms, but I really need
only one more, as four pupils are quite enough. With four

1 The Countess Rumbeck, Frau von Trattner and Fraulein Josephine
Aumhammer.

1184

I7&? MOZART TO HIS FATHER L. 443

I should have twenty-four ducats, or 102 gulden, 24
kreutzer. With this sum a man and his wife can manage
in Vienna if they live quietly and in the retired way which
we desire; but, of course, if I were to fall ill, we should not
make a farthing. I can write, it is true, at least one opera
a year, give a concert annually and have some things
engraved and published by subscription. There are other
concerts too where one can make money, particularly if
one has been living in a place for a long time and has a
good reputation. But I should prefer not to count on such
takings but rather to regard them as windfalls. However,
if the bow will not bend, it must break, and I will rather
take the risk than go on waiting indefinitely. My affairs
cannot get worse; on the contrary, they must continue to
improve. And my reason for not wishing to wait any
longer is not so much on my account as on hers. I must
rescue her as soon as possible. I shall tell you about this
in my next letter. Now farewell. I kiss your hands a
thousand times and embrace my dear sister with all my
heart and am ever your most obedient son

W. A. MOZART

(443) Mozart to his Father

[Autograph in the Mozarteum, Salzburg}

MON TR£S CHER P^RE! VIENNE, ce 30 de Janvier \ 1782

I am writing to you in a great hurry, and at half past

ten at night, as I had really intended to postpone writing

until Saturday. But I have an urgent request to make. I

hope that • you will not take it amiss if I send you such

a short letter. Will you please send me, when you next

write, a libretto of "Idomeneo", with or without the

German translation? I lent one copy to the Countess

VOL. in 1185 K

L.443 MOZART TO HIS FATHER 1782

Thun, who has now moved into another house, and cannot
find it. Probably it is lost. Fraulein Aurnhammer had
my other copy, which she has looked for but has not yet
found. Perhaps she will find it. But if she doesn't, I shall
be left high and dry and at the very moment when I
really require it. In order therefore to be on the safe side,
please let me have it at once, whatever the cost may be,
for I need it immediately in order that I may arrange the
programme of my concert, which is to take place on the
third Sunday in Lent. Please send it off to me directly. I
shall forward the sonatas l by the next mail coach. My
opera2 has not gone to sleep, but — has suffered a set
back on account of G luck's big operas3 and owing to many
very necessary alterations which have to be made in the
text. It is to be performed, however, immediately after
Easter.4

Well, I must close. Just one thing more (for if I did not
say it I could not sleep in peace). Please do not suspect
my dear Constanze of harbouring such evil thoughts.
Believe me, if she had such a disposition, I could not
possibly love her. Both she and I long ago observed her
mother's designs. But the latter is very much mistaken, for
she wishes us (when we marry) to live with her, as she has
apartments to let. This is out of the question, for on no
account would I consent to it, and my Constanze still less.
Au contraire, she intends to see very little of her mother
and I shall do my best to stop it altogether, for we know
her too well. Dearest, most beloved father, my only wish
is that we may soon meet, so that you may see her and —
love her, for you love those who have kind hearts — that I
know* Now farewell, dearest, most beloved father. I kiss

1 K. 296 and 376-380.

2 "Die Entfiihrung- aus dem Serail."

3 "Iphigenie in Tauris", "Alceste" and "Orfeo".

4 The first performance took place on July 26th, 1782.

1186

iy82 MOZART TO HIS SISTER Z. 444

your hands a thousand times and am ever your most

obedient son

W. A. MOZART

I embrace my dear sister with all my heart. I shall not
forget the variations.1

(444) Mozart to his Sister

[Autograph in the Mozarteum, Salzburg]

MA TRES CHERE SCEUR! VlENNE, ce l^febrier, 1782

Thank you for sending me the libretto,2 for which
indeed I have been waiting with the greatest longing! I
hope that by the time you receive this letter, you will have
our dearest, most beloved father with you again. You
must not gather from my not replying, that you and your
letters are a nuisance to me! I shall always be delighted,
dear sister, to have the honour of receiving a letter from
you. If the necessary business of earning my living did
not prevent me, God knows I should answer your letters
at once! And have I never sent you a reply? Well, then —
forgetfulness it cannot be — nor negligence, either; there
fore it is entirely due to positive hindrances — to genuine
impossibility. Do I not write little enough to my father?
And very wrong, too, you will say! But, in Heaven's
name, you both know what Vienna is. In such a place
has not a man (who has not a kreutzer of assured income)
enough to think about and to work at day and night?
Our father, when he has finished his duties in church, and
you, when you have done with your few pupils, can both
do what you like for the rest of the day and write letters
containing whole litanies. But it is not so with me. I
described my manner of life the other day to my father
and I will repeat it to you. My hair is always done by
1 K. 359, 360, 352. 2 The text of "Idomeneo".

1187

L. 444 MOZART TO HIS SISTER 1782

six o'clock in the morning and by seven I am fully dressed.
I then compose until nine. From nine to one I give
lessons. Then I lunch, unless I am invited to some house
where they lunch at two or even three o'clock, as, for
example, to-day and to-morrow at Countess Zichy's I and
Countess Thun's. I can never work before five or six
o'clock in the evening, and even then I am often pre
vented by a concert. If I am not prevented, I compose
until nine. I then go to my dear Constanze, though the
joy of seeing one another is nearly always spoilt by her
mother's bitter remarks. I shall explain this in my next
letter to my father. For that is the reason why I am long
ing to be able to set her free and to rescue her as soon as
possible. At half past ten or eleven I come home — it
depends on her mother's darts and on my capacity to
endure them! As I cannot rely on being able to compose
in the evening owing to the concerts which are taking
place and also to the uncertainty as to whether I may not
be summoned now here and now there, it is my custom
(especially if I get home early) to compose a little before
going to bed. I often go on writing until one — and am
up again at six. Dearest sister! If you imagine that I can
ever forget my dearest, most beloved father and you,
then — but I shall say no more. God knows all about me
and that is consolation enough. May He punish me, if I
can ever forget you. Adieu. I am ever your sincere brother

W. A. MOZART

P.S. — If my dearest father is back in Salzburg,2 tell
him that I kiss his hands a thousand times.

1 There were two Countesses Zichy, Anna Maria Antonia, n&e Kheven-
hiiller-Metsch (1759-1809), the wife of Count Karl Zichy (1753-1826),
Court Councillor in Vienna, and Maria Theresa, nte Palfy (1760-1833), the
wife of Count Stefan Zichy.

2 Leopold Mozart had gone to stay with the Marchands in Munich See
p. HIS, n. 3. »

1188

1782 MOZART TO HIS FATHER L. 445

(445) Mozart to his Father

[Autograph in the Mozarteum, Salzburg]

MON TRIES CHER P^RE! VlENNE, ce 23 de mars, 1782

I am very sorry that I heard only yesterday that a
son of Leutgeb's was going to Salzburg by the mail
coach, which would have been a capital opportunity of
sending you a whole lot of things free of charge. But as
it was impossible to copy out the variations J in these two
days, I have only been able to give him the two copies of
my sonatas.2 I am sending you at the same time the last
rondo 3 which I composed for my concerto in D major
and which is making such a furore in Vienna. But I beg
you to guard it like a jewel — and not to give it to a soul
to play — not even to Marchand and his sister.4 I composed
it specially for myself — and no one else but my dear
sister must play it. I also take the liberty of presenting
you with a snuff-box and a few watch-ribbons. The snuff
box is quite pretty; the painting represents an English
scene. The watch-ribbons are of no great value, but are
now very much in fashion. I am sending my dear sister
two caps in the latest Viennese mode. Both are the handi
work of my dear Constanze. She sends her most devoted
greetings to you and kisses your hands and also embraces
my sister most affectionately and asks her to forgive her
if the caps are not as becoming as she would have wished,
but the time was "too short. Please return the bandbox by
the next mail coach, for I borrowed it. But that the poor

1 K. 359, 360, 352. 2 K. 296 and 376-380.

3 K. 382, a rondo written for K. 175, clavier concerto in D major, composed
in 1773. This is probably the rondo which Mozart sent to Baroness von
Waldstadten. See p. 1228,

4 Heinrich and Margarete Marchand, who had gone to live with Leopold
Mozart. Heinrich, then aged twelve, became an excellent violinist, and
Margarete, then aged fourteen, a fine operatic singer.

1189

Z. 445 MOZART TO HIS FATHER

fool may not travel all alone, be so good as to put the
rondo in again (after you have had it copied) — and also,
if possible, the last scena I composed for Countess Baum-
garten I — and the scores of a few of my masses 2 — enfin —
whatever you may find and may think might be useful to
me. Well, I must close. But I must tell you that the Pope
arrived in Vienna yesterday afternoon at half past three
— a pleasant piece of news.3 And now for a sad one. Frau
von Aurnhammer has at last worried her poor dear
husband to death. He died yesterday evening at half past
six. He had been poorly for some time, but his death was
not expected so soon. It was all over in a moment. May
God have mercy on his soul. He was a good, kind man.
Well, I must close, for Leutgeb is waiting for my letter.
I really recommend the lad to you, my dear father. His
father would like to get him into a business house or into
the Salzburg printing firm. Please lend him a helping
hand. My dear Constanze has surprised me this very
moment and has just asked me whether she might dare
to send my sister a little souvenir? At the same time I am
to apologise for her, and to say that, as she is a poor girl,
she has nothing to give — and that she hopes that my
sister will take the will for the deed. The little cross is of
no great value, but it is all the fashion in Vienna. But the
little heart pierced by an arrow is something like my
sister's heart with the arrow — and will please her better
on that account. Now farewell. I kiss your hands a thou
sand times and embrace my dear sister with all my heart
and am ever your 4

1 K. 369.

2 Probably K. 317, composed in 1779, and K. 337, composed in 1780.

3 Cp. p. 1178, n. i.

4 The autograph has no signature.

1190

ij82 MOZART TO HIS FATHER L. 446

(446) Mozart to his Father

[Autograph in the Mozarteum, Salzburg]
MON TRES CHER PERE! VlENNE, ce IO d'avril, 1782

I see from your letter of April 2nd that you have
received everything safely. I am glad that you are so
pleased with the watch-ribbons and the snuff-box and my
sister with the two caps. I did not buy either the snuff-box
or the watch-ribbons, as Count Zapara made me a present
of them. I have delivered greetings from you both to my
dear Constanze, who kisses your hands in return, my
father, and embraces my sister most cordially and hopes
that she will be her friend. She was absolutely delighted
when I told her that my sister was very much pleased
with the two caps, so greatly did she desire to give her
pleasure. Your postscript about her mother is justified
only in so far as she likes wine, and more so, I admit,
than a woman ought to. Still, I have never yet seen her
drunk and it would be a lie if I were to say so. The
children only drink water — and, although their mother
almost forces wine upon them, she cannot induce them to
touch it. This often leads to a lot of wrangling — can you
imagine a mother quarrelling with her children about such
a matter?

I have said nothing to you about the rumour you
mention of my being certainly taken into the Emperor's
service, because I myself know nothing about it. It is true
that here too the whole town is ringing with it and that a
number of people have already congratulated me. I am
quite ready to believe that it has been discussed with the
Emperor and that perhaps he is contemplating it. But up
to this moment I have no definite information. At all
events things are so far advanced that the Emperor is

1191

Z. 446 MOZART TO HIS FATHER 1*782

considering it, and that too without my having taken a
single step. I have been a few times to see Herr von
Strack (who is certainly a very good friend of mine) in
order to let myself be seen and because I like his society,
but I have not gone often, because I do not wish to be
come a nuisance to him, or to let him think that I have
ulterior motives. As a man of honour he is bound to state
that he has never heard me say a word which would give
him reason to think that I should like to stay in Vienna,
let alone enter the Emperor's service. We have only dis
cussed music. Therefore it must have been quite spon
taneously and entirely without self-interest that he has
been speaking so favourably of me to the Emperor. If
things have gone so far without any effort on my part,
they can now proceed to their conclusion in the same way.
For if one makes any move oneself, one immediately re
ceives less pay, because, as it is, the Emperor is a niggard.
If he wants me, he must pay me, for the honour alone of
serving him is not enough. Indeed, if he were to offer me
1000 gulden and some Count 2000, I should decline the
former proposal with thanks and go to the Count — that
is, of course, if it were a permanent arrangement. A
propos, I have been intending to ask you, when you
return the rondo,1 to enclose with it Handel's six fugues 2
and Eberlin's toccatas and fugues. I go every Sunday at
twelve o'clock to Baron van Swieten, where nothing is
played but Handel and Bach. I am collecting at the
moment the fugues of Bach — not only of Sebastian, but
also of Emanuel 3 and Friedemann.4 I am also collecting
Handel's and should like to have the six I mentioned.
I should like the Baron to hear Eberlin's too. I

1 See p. 1189, n. 3.

2 Probably the six fugues for the clavecin, written about 1720.

3 Carl Philipp Emanuel Bach (1714-1788), J. S. Bach's second son.

4 Wilhelm Friedemann Bach (1710-1784), J. S. Bach's eldest son.

1192

1782 MOZART TO HIS SISTER L. 447

suppose you have heard that the English Bach l is dead?
What a loss to the musical world! Now, farewell. I kiss
your hands a thousand times and embrace my dear sister
with all my heart and am ever your most obedient son

W. A. MOZART

P.S. — May I also ask you to send me when you can
(but the sooner the better) my concerto in C major,
written for Countess Liitzow ? 2

(447) Mozart to his Sister

[Autograph in the Mozarteum, Salzburg]

DEAREST SISTER! VIENNA, April 2Qthy 1782

My dear Constanze has at last summoned up courage
to follow the impulse of her kind heart — that is, to write
to you, my dear sister! Should you be willing to favour
her with a reply (and indeed I hope you will, so that I
may see the sweet creature's delight reflected on her face),
may I beg you to enclose your letter to me? I only
mention this as a precaution and so that you may know
that her mother and sisters are not aware that she has
written to you. I send you herewith a prelude and a
three-part fugue.3 The reason why I did not reply to
your letter at once was that on account of the wearisome
labour of writing these small notes, I could not finish
the composition any sooner. And, even so, it is awkwardly
done, for the prelude ought to come first and the fugue
to follow. But I composed the fugue first and wrote it
down while I was thinking out the prelude. I only hope

1 Johann Christian Bach, J. S. Bach's youngest son, died on January 1st,
1782. For the last twenty years of his life he had lived almost entirely in
England. 2 K. 246, written in 1776.

* K. 394, Fantasy and Fugue in C major.

H93

L. 447 MOZART TO HIS SISTER 1782

that you will be able to read it, for it is written so very
small; and I hope further that you will like it. Another
time I shall send you something better for the clavier.
My dear Constanze is really the cause of this fugue's
coming into the world. Baron van Swieten, to whom I go
every Sunday, gave me all the works of Handel and
Sebastian Bach to take home with me (after I had played
them to him). When Constanze heard the fugues, she
absolutely fell in love with them. Now she will listen to
nothing but fugues, and particularly (in this kind of
composition) the works of Handel and Bach. Well, as she
had often heard me play fugues out of my head, she asked
me if I had ever written any down, and when I said I had
not, she scolded me roundly for not recording some of my
compositions in this most artistic and beautiful of all
musical forms, and never ceased to entreat me until I
wrote down a fugue for her. So this is its origin. I have
purposely written above it Andante Maestoso, as it must
not be played too fast. For if a fugue is not played slowly,
the ear cannot clearly distinguish the theme when it
comes in and consequently the effect is entirely missed.
In time, and when I have a favourable opportunity, I
intend to compose five x more and then present them to
Baron van Swieten, whose collection of good music,
though small in quantity, is great in quality. And for
that very reason I beg you to keep your promise not to
show this composition to a soul. Learn it by heart and
play it. It is not so easy to pick up a fugue by ear. If Papa
has not yet had those works by Eberlin copied, so much
the better, for in the meantime I have got hold of them
and now I see (for I had forgotten them) that they are
unfortunately far too trivial to deserve a place beside
Handel and Bach. With due respect for his four-part

1 K. App. 39 and K. App. 40, both unfinished, were Mozart's attempt to
carry out this plan. See Kochel, p. 476 f.

1194

1782 CONSTANZE WEBER TO NANNERL MOZART L.

composition I may say that his clavier fugues are
nothing but long-drawn-out voluntaries. Now farewell. I
am glad that the two caps suit you. I kiss you a thousand
times and remain your sincere brother

W. A. MOZART

Tell Papa I kiss his hand. I received no letter to-day.

(447 a) Constance Weber to Nannerl Mozart

[Autograph in the Mozarteum, Salzburg}

VIENNA, April 2ot&, 1782

MOST HONOURED AND VALUED FRIEND!

I should never have been so bold as to follow the
dictates of my heart and to write to you, most esteemed
friend, had not your brother assured me that you would
not be offended by this step which I am taking solely
from an earnest longing to communicate, if only in writing,
with a person who, though unknown to me, is yet very
precious, as she bears the name of Mozart. Surely you
will not be angry if I venture to tell you that though I
have not the honour of knowing you personally I esteem
you most highly, as the sister of so excellent a brother,
and that I love you and even venture to ask you for your
friendship. Without undue pride I may say that I partly
deserve it and shall endeavour to do so wholly! May I
in exchange offer you mine, which, indeed, has long
been yours in the secrecy of my heart? Ah! I trust you
will accept it, and in this hope I remain, most honoured
and valued friend, your most obedient servant and
friend

CONSTANZE WEBER

Please tell your Papa that I kiss his hand,

1195

L. 448 MOZART TO CONSTANZE WEBER 1782

(448) Mozart to Constance Weber

[Autograph in the possession of Fraujahns, Berlin]

VIENNA, April 2gtk, 1782
DEAREST, MOST BELOVED FRIEND!

Surely you will still allow me to address you by this
name? Surely you do not hate me so much that I may be
your friend no longer, and you — no longer mine? And
even if you will not be my friend any longer, yet you
cannot forbid me to wish you well, my friend, since it has
become very natural for me to do so. Do think over what
you said to me to-day. In spite of all my entreaties you
have thrown me over three times and told me to my face
that you intend to have nothing more to do with me. I
(to whom it means more than it does to you to lose the
object of my love) am not so hot-tempered, so rash and
so senseless as to accept my dismissal. I love you far too
well to do so. I entreat you, therefore, to ponder and
reflect upon the cause of all this unpleasantness, which
arose from my being annoyed that you were so impud
ently inconsiderate as to say to your sisters — and, be it
noted, in my presence — that you had let a ckapeau1
measure the calves of your legs. No woman who cares
for her honour can do such a thing. It is quite a good
maxim to do as one's company does. At the same time
there are many other factors to be considered — as, for
example, whether only intimate friends and acquaintances
are present — whether I am a child or a marriageable girl
— more particularly, whether I am already betrothed —
but, above all, whether only people of my own social
standing or my social inferiors — or, what is even more
important, my social superiors are in the company? If it
be true that the Baroness 2 herself allowed it to be
done to her, the case is still quite different, for she is

1 A young gallant, a The Baroness von Waldstadten.

1196

1782 LEOPOLD MOZART TO J. G. I. BREITKOPF Z. 449

already past her prime and cannot possibly attract any
longer — and besides, she is inclined to be promiscuous
with her favours. I hope, dearest friend, that, even if you
do not wish to become my wife, you will never lead a life
like hers. If it was quite impossible for you to resist the
desire to take part in the game (although it is not always
wise for a man to do so, and still less for a woman), then
why in the name of Heaven did you not take the ribbon
and measure your own calves yourself (as all self-respect
ing women have done on similar occasions in my presence)
and not allow a chapeau to do so? — Why, I myself in the
presence of others would never have done such a thing to
you. I should have handed you the ribbon myself. Still
less, then, should you have allowed it to be done to you
by a stranger — a man about whom I know nothing. But
it is all over now; and the least acknowledgment of your
somewhat thoughtless behaviour on that occasion would
have made everything all right again; and if you will not
make a grievance of it, dearest friend, everything will
still be all right. You realise now how much I love you, /
do not fly into a passion as you do. I think, I reflect and I
feel. If you will but surrender to your feelings, then I know
that this very day I shall be able to say with absolute
confidence that Constanze is the virtuous, honourable,
prudent and loyal sweetheart of her honest and devoted

MOZART

(449) Leopold Mozart to J. G. I. Breitkopf, Leipzig

[Extract} [Autograph in the Universitdtsbibliothek, Bonri[

SALZBURG, April 29^, 1782

My son is in Vienna and is remaining there. Herr
Artaria has published some of his clavier sonatas.1

1 K. 296 and 376-380, the violin and clavier sonatas dedicated to Fraulein
Aurnhammer.

1197

L. 450 MOZART TO HIS FATHER

Meanwhile I am having a pleasant time with two
pupils, the twelve-year-old son and the fourteen-year-old
daughter of Herr Marchand,1 theatrical manager in
Munich, whom I am instructing. I hope to make a great
violinist and clavierist out of the boy and a good singer
and excellent clavierist out of the girl.

(450) Mozart to his Father

[Autograph in the Mozarteum, Salzburg~\
MON TRES CHER PERE! VlENNE, ce 8 de maj, 1782

I have received your last letter of April 30th and yester
day too my sister's letter with the enclosure for my dear
Constanze, to whom I gave it at once. It caused her sincere
pleasure and she will take the liberty of writing to her
again very soon. Meanwhile (as I cannot possibly find
time to write to my sister to-day) I must put a question
to you on behalf of Constanze, which is, whether fringes
are being worn in Salzburg? Whether my sister is wearing
them already? Whether she can make them herself? Con
stanze has just trimmed two pique dresses with them, for
they are all the fashion in Vienna. As she can make them
herself now, she would like to send some to my sister, if
the latter will tell her which shade she prefers. For they are
worn in all colours, white, black, green, blue, puce, etc.
A satin or gros de turc silk dress must be trimmed, of
course, with silk fringes, and Constanze has a dress of this
kind. An ordinary dress of pretty Saxon pique, trimmed
with cotton fringes (which, unless you feel them, can
hardly be distinguished from silk), looks very well; and
the advantage of such a combination is that the fringes
can be washed on the dress.

1 Heinrich and Margarete Marchand.
1198

1782 MOZART TO HIS FATHER L. 450

Please write and tell me how Salieri's opera x in
Munich went off. I am sure that you managed to hear it,
but, if not, you are certain to know how it was received.
I called twice on Count Daun, 2 but each time he was not
at home. However, I sent for the music. Indeed he is
only at home in the mornings, when not only do I never
go out, but I do not even dress, as I have such a lot of
composing to do. All the same I shall try to see him next
Sunday. Perhaps he will be able to take my Munich
opera 3 as well as the variations.4

I was at Countess Thun's yesterday and played
through my second act 5 to her, with which she seems no
less pleased than she was with the first. I have had
RaafFs aria 6 copied long ago and have given it to
Fischer, whom he had commissioned to get it. You said
once in a letter that you would like to have the Robinig
music.7 Who has it? I haven't. I think Eck gave it back
to you. I asked you for it in my letter as well as for the
Cassations in F and Bb.8 Do please send me soon the scena
I composed for Countess Baumgarten.9 This summer
there is to be a concert every Sunday in the Augarten.10
A certain Martin " organised last winter a series of
amateur concerts, which took place every Friday in the
Mehlgrube.12 You know that there are a great many

1 Salieri's "Semiramide", performed during the Munich carnival season,
1782. 2 Count Daun, canon of the Sabburg Cathedral.

"Idomeneo." 4 K. 359, 360, 352.

Of his opera "Die Entfiihrung aus dem Serail".

K. 295, composed in 1778.

A divertimento, K. 334, and a march, K. 445, composed in 1779.

K. 247, composed in 1776, and K. 287, composed in 1777. 9 K. 369.

A well-known public garden in the Leopoldstadt suburb of Vienna,
where, as at Vauxhall and Ranelagh, public concerts were held. It was
opened in 1775 by the Emperor Joseph II.

11 Philipp Martin of Regensburg.

12 A very old building in the Neuer Markt, to which a flour warehouse in
the basement gave its name. It was then an inn with a large hall, where
balls and concerts were held. The Hotel Kranz- Ambassador now occupies
the site.

1199

Z. 450 MOZART TO HIS FATHER 1782

amateurs in Vienna, and some very good ones too, both
men and women. But so far these concerts have not been
properly arranged. Well, this Martin has now got per
mission from the Emperor under charter (with the
promise too of his gracious patronage) to give twelve
concerts in the Augarten and four grand serenades in
the finest open places of the city. The subscription for
the whole summer is two ducats. So you can imagine
that we shall have plenty of subscribers, the more so as
I am taking an interest in it and am associated with it.
Assuming that we get only a hundred subscribers, then
each of us will have a profit of three hundred gulden (even
if the costs amount to two hundred gulden, which is most
unlikely). Baron van Swieten and the Countess Thun are
very much interested in it. The orchestra consists entirely
of amateurs, with the exception of the bassoon-players,
the trumpeters and drummers. I hear that dementi is
leaving Vienna to-morrow. Have you seen his sonatas?

Please have a little patience with poor Leutgeb. If you
knew his circumstances and saw how he has to muddle
along, you would certainly feel sorry for him. I shall
have a word with him and I feel sure that he will pay
you, at any rate by instalments. Now farewell. I kiss
your hands a thousand times and am ever your most
obedient son

W. A. MOZART

P.S. — I kiss my dear sister a thousand times. My
remembrances to Katherl and a greeting to Thresel —
and tell her that she is to be my nursery-maid, but that
she will have to practise her singing hard. Adieu, A
pinch of Spanish snuff for Bimperl.

1200

LORENZO DA PONTE

From a water-colour painting by an unknown artist
(Signor Riccardo Rossi, Vittorio Veneto)

1782 CONSTANZE WEBER TO LEOPOLD MOZART L. 451(1

(451) Mozart to his Father

[Autograph in the Mozarteum, Salzburg]

MON TRES CHER PERE! VlENNE, ce 2$ de may, 1782

This time I must really steal a moment, so that you
may not wait too long for a letter. For to-morrow our first
concert takes place in the Augarten and at half past eight
Martin is fetching me in a carriage and we have still six
visits to pay, which I must finish off by eleven o'clock, as
I then have to go to the Countess Rumbeck. Afterwards I
am lunching with the Countess Thun and, I should add, in
her garden. In the evening we are having the rehearsal of
the concert. A symphony by Van S wieten and one of mine 1
are being performed; an amateur singer, Mile Berger, is
going to sing; a boy of the name of Turk is playing a
violin concerto; and Fraulein Aurnhammer and I are
playing my Ei> concerto for two pianos.2

(45 1 a) Constance Weber to Leopold Mozart

[Autograph in the Mozarteum, Salzburg

VIENNA, May z$th, 1782

Your dear son has been summoned this very moment
to Countess Thun's and hasn't time to finish this letter
to his dear father, which he much regrets. He has com
missioned me to let you know this, for, as to-day is post-
day, he does not wish you to be without a letter from him.
He will write more to his dear father the next time. Please
forgive me for writing to you. These few lines cannot be
as agreeable to you as those which your son would have
written.

1 Probably K. 338, composed in 1780.
2 K. 365, composed in 1779.

VOL. Ill 1 20 1 L

L. 452 MOZART TO HIS FATHER 1782

I am ever your faithful servant and friend

CONSTANZE WEBER

Please give my compliments to your amiable daughter.
(452) Mozart to his Father

[Autograph in the Mozarteum, Salzburg]

MON TRIDS CHER P&RE! VlENNE, ce 29 de may, 1782

I was positively prevented the other day from
finishing my letter and therefore asked my dear Constanze
to make my apologies to you. She hesitated for some time,
fearing that you might laugh at her spelling and style;
and she is giving me no peace until I write to you and
convey her excuses.

The first amateur concert went off tolerably well. The
Archduke Maximilian was there, the Countess Thun,
Wallenstein, Baron van Swieten and a whole crowd of
other people. I am earnestly longing for the arrival of the
next mail coach, which is to bring me some music. In re
gard to the Robinig music * I can assure you most faithfully
that I never took it with me — and that Eck must still have
it, for he had not returned it when I left Munich. The
organiser of these amateur concerts, M. Martin, knows
Abbe Bullinger very well, for he was a pupil at the
Munich seminary in his day. He is a very worthy young
man, who is trying to make his way by his music, by his
elegant writing and generally by his ability, intelligence
and sound judgment. When he came to Vienna, he had a
hard struggle — and had to manage for a fortnight on half
a gulden. Adamberger, who knew him in Munich, has
been very kind to him. He is a native of Regensburg and
his father was private physician to Prince Taxis. My dear
Constanze and I are lunching to-morrow with Countess

1 See p. 1199, n. 7.
1202

Ij82 MOZART TO HIS FATHER L. 452

Thun and I am to play over my third act x to her. At the
moment I have nothing but very tiresome work — that is,
correcting. We are to have our first rehearsal next Mon
day. I must confess that I am looking forward with much
pleasure to this opera. A propos. A few days ago I had a
letter — from whom? From Herr von Feigele. And the
contents — that he is in love — and with whom? With my
sister? Not at all — with my cousin! 2 Well, he will have to
wait a long time before getting an answer from me; for you
know how little time I have for writing. But I am rather
curious to see how long his infatuation will last.

Now for something that I heard quite by accident and
which makes me very much annoyed with Count
Kiihnburg. Fraulein von Aurnhammer told me yesterday
that Herr von Moll had asked her whether she would be
willing to enter a nobleman's family in Salzburg at a
salary of three hundred gulden a year. The name was
Kiihnburg. What do you think of that? So it seems that my
sister's services count for nothing! Make your own use of
this information. He was only here for a day, but if he
returns, I shall find an opportunity of speaking to him
on the subject. Now farewell. I kiss your hands a thousand
times and embrace my dear sister with all my heart. I also
send to Mile Marchand (with my dear Constanze's per
mission) a few kisses, and I am ever your most obedient
son

W. A. MOZART

P.S. — My dear Constanze kisses your hands and em
braces my sister as her true friend and future sister-in-
law.

1 Of the "Entfuhrung aus dem Serail".

2 Maria Anna Thekla Mozart, the "Basle". She died in 1841 at the age
of eighty-three. According to Schurig, vol. i. p. 455, descendants of her
illegitimate daughter, Marianne Viktoria Mozart (1793-1857), were living
in Vienna in 1923.

1203

L. 453 MOZART TO HIS FATHER 1782

(453) Mozart to his Father

[Autograph in the Mozarteum, Salzburg]
MON TRES CHER PERE! VlENNE, ce 2O de Juliet, 1782

I hope that you received safely my last letter in
forming you of the good reception of my opera.1 Tt was
given yesterday for the second time. Can you really
believe it, but yesterday there was an even stronger cabal
against it than on the first evening! The whole first act
was accompanied by hissing. But indeed they could not
prevent the loud shouts of "bravo" during the arias. I was
relying on the closing trio,2 but, as ill-luck would have
it, Fischer went wrong, which made Dauer (Pedrillo) go
wrong too; and Adamberger alone could not sustain the
trio, with the result that the whole effect was lost and that
this time it was not repeated. I was in such a rage (and
so was Adamberger) that I was simply beside myself and
said at once that I would not let the opera be given again
without having a short rehearsal for the singers. In the
second act both duets were repeated as on the first night,
and in addition Belmonte's rondo "Wenn der Freude
Tranen fliessen". The theatre was almost more crowded
than on the first night and on the preceding day no
reserved seats were to be had, either in the stalls or in the
third circle, and not a single box. My opera has brought
in 1 200 gulden in the two days. I send you herewith the
original score and two copies of the libretto. You will see
that I have cut out several passages. I knew that here the
practice is for the score to be copied at once; but I first
gave free rein to my ideas and then made my alterations
and cuts at the last moment. The opera was performed
just as you now have it; but here and there the parts

1 The "Entfiihrung aus dem Serail" was performed on July i6th. The
letter to which Mozart refers is unfortunately lost.

2 The last number of Act I.

1204

1782 MOZART TO HIS FATHER Z. 453

for trumpets, drums, flutes, and clarinets, and the
Turkish music are missing, because I could not get
any music paper with so many lines. Those parts were
written out on extra sheets, which the copyist has probably
lost, for he could not find them.1 The first act, when I was
sending it somewhere or other — I forget where, unfortun
ately fell in the mud, which explains why it is so dirty.

Well, I am up to the eyes in work, for by Sunday week
I have to arrange my opera for wind-instruments. If I
don't, someone will anticipate me and secure the profits.
And now you ask me to write a new symphony! * How on
earth can I do so? You have no idea how difficult it is to
arrange a work of this kind for wind-instruments, so that
it suits these instruments and yet loses none of its effect.
Well, I must just spend the night over it, for that is the only
way; and to you, dearest father, I sacrifice it. You may
rely on having something from me by every post. I shall
work as fast as possible and, as far as haste permits, I shall
turn out good work.

Count Zichy 3 has this moment sent me a message
inviting me to drive with him to Laxenburg, so that he
may present me to Prince Kaunitz. So I must close this
letter and dress. For when I have no intention of going
out I always remain en neglige. The copyist has just sent
me the remaining parts. Adieu. I kiss your hands a thou
sand times and embrace my dear sister with all my heart
and am ever your most obedient son w ^ MOZART

P.S. — My dear Constanze sends greetings to you both.

1 Cp. p. 1480, n. 2.

2 K. 385, the "Haffner" symphony in D major. Mozart had already
written a march (K. 249) and a serenade (K. 250) for the wedding of Elise
Haffner, daughter of Sigmund Haffner, merchant and burgomaster of
Salzburg. According to Deutsch-Paumgartner, op. cit. p. 533, the symphony
was commissioned to celebrate the granting of a title of nobility to young
Sigmund Haffner (1756-1787)- See also Kochel, p. 490.

3 His wife, Countess Zichy, was Mozart's pupil on the clavier.

1205

L. 45411 CONSTANZE WEBER TO NANNERL MOZART 1782

(454) Mozart to his Sister

\Autograph in the possession of Frau Floersheim-Koch, Florence]

VIENNA, July 24^, 1782

Forgive me, dear sister, for not sending you a formal
letter of congratulation, but I really have no time. Besides
you know that, as it is, I wish you daily every good thing.
It was impossible for me to find a moment to-day to write
to my father. But I shall certainly do so next post-day.
Adieu. Farewell. My opera is to be performed in your
honour on your name-day.1 I kiss my dear father's hands
and I kiss you a thousand times and am ever your sincere
brother

W. A. MOZART

(454a) Constance Weber to Nannerl

[Autograph in the possession of Frau Floersheim-Koch, Florence}

MOST PRECIOUS FRIEND, VIENNA, July 241/1, 1782

Forgive me for taking the liberty of worrying you
again with my scrawl. Your approaching name-day must
be my excuse! And if my good wishes are a nuisance to
you, as indeed all congratulations are, my consolation
must be that already I am not the only one who is
bothering you in this way. All that I deserve is that for
the love of God you should suffer me as you do all the
others. Yet could you but see into my heart and read what
is there, perhaps I might be exempted from your general
complaint; that at least. Possibly, nay assuredly, among
the exempted I should even be given some preference. So
I wish with all my heart that you will be, and not only
become, very happy, and that you will really be as happy

1 July 26th,
1206

MOZART TO HIS FATHER Z. 455

as I am confident that I shall be in the future. If you are;
then . . -1

(455) Mozart to his Father

[Autograph in the Mozarteum, Salzburg]
MON TRES CHER PERE! ' VlENNE, ce 27 Juliet, 1782

You will be surprised and disappointed to find that
this contains only the first Allegro; 2 but it has been quite
impossible to do more for you, for I have had to compose
in a great hurry a serenade,3 but only for wind-instruments
(otherwise I could have used it for you too). On Wednes
day the 3ist I shall send the two minuets, the Andante
and the last movement.4 If I can manage to do so, I shall
send a march too.5 If not, you will just have to use the one 6
in the Haffner music, which hardly anyone knows —

I have composed my symphony in D major, because
you prefer that key.

My opera was given yesterday for the third time in
honour of all the Nannerls 7 and won the greatest applause;
and again, in spite of the frightful heat, the theatre was
packed. It was to be given again next Friday, but I have
protested against this, for I do not want it to become
hackneyed. I may say that people are absolutely infatuated
with this opera. Indeed it does one good to win such
approbation. I hope that you have safely received the
original score. Dearest, most beloved father, I implore you

1 The autograph breaks off here.

2 Of his new symphony for the Haffner family, K. 385. 3 K. 388.
4 Of his new symphony, K. 385. One minuet seems to have been lost. See

Kochel, p. 490. s K. 408, No. 2.

« K. 249, composed in 1776. 7 July 26th, St. Anne's Day.

1207

L. 455 MOZART TO HIS FATHER 1782

by all you hold dear in the world to give your consent to
my marriage with my dear Constanze. Do not suppose
that it is just for the sake of getting married. If that were
the only reason, I would gladly wait. But I realise that it is
• absolutely necessary for my own honour and for that of
my girl, and for the sake of my health and spirits. My heart
is restless and my head confused; in such a condition
how can one think and work to any good purpose? And
why am I in this state? Well, because most people think
that we are already married. Her mother gets very much
annoyed when she hears these rumours, and, as for the
poor girl and myself, we are tormented to death. This
state of affairs can be remedied so easily. Believe me, it is
just as easy to live in expensive Vienna as anywhere else.
It all depends on economy and good management, which
cannot be expected from a young fellow, particularly if he
is in love. Whoever gets a wife like my Constanze will
certainly be a happy man. We intend to live very
modestly and quietly and yet we shall be happy. Do not
be uneasy, for, if I were to fall ill to-day, which God
forbid, I would wager that the leading nobles would stand
by me manfully and the more so if I were married. I can
say this with entire confidence. I know what Prince
Kaunitz has said about me to the E mperor and to the Arch
duke Maximilian. Most beloved father, I am longing to
have your consent. I feel sure that you will give it, for my
honour and my reputation depend upon it. Do not post
pone too long the joy of embracing your son and his wife.
I kiss your hands a thousand times and am ever your

obedient son

W. A. MOZART

P.S. — I embrace my dear sister most cordially. My
dear Constanze sends her kind regards to you both.
Adieu.

1208

1782 MOZART TO HIS FATHER L. 456

(456) Mozart to his Father

\Autograph in the Mozarteum, Salzburg]

MON TRES CHER PERE! VIENNE, ce 31 de Julliette, 1782
You see that my intentions are good — only what one
cannot do one cannot! I am really unable to scribble off*
inferior stuff. So I cannot send you the whole symphony x
until next post-day. I could have let you have the last
movement, but I prefer to despatch it all together, for
then it will cost only one postage. What I have sent you
has already cost me three gulden. I received to-day your
letter of the 26th, but a cold, indifferent letter, such as I
could never have expected in reply to my news of the good
reception of my opera.2 I thought (judging by my own
feelings) that you would hardly be able to open the parcel
for excitement and eagerness to see your son's work,
which, far from merely pleasing, is making such a sensa
tion in Vienna that people refuse to hear anything else,
so that the theatre is always packed. It was given
yesterday for the fourth time and is to be repeated on
Friday. But you — have not had the time. So the whole
world declares that by my boasting and criticising I have
made enemies of the professors of music and of many
others! What world pray? Presumably the world of
Salzburg, for everyone in Vienna can see and hear
enough to be convinced of the contrary. And that shall be
my reply. In the meantime you will have received my
last letter; and I feel confident that your next will contain
your consent to my marriage. You can have no objection
whatever to raise — and indeed you do not raise any. Your
letters show me that. For Constanze is a respectable honest
girl of good parentage, and I am able to support her. We
love each other — and want each other. All that you have

1 K. 385. 2 "Die Entfuhrung aus dem Serail."

1209

L. 457 MOZART TO BARONESS VON WALDSTADTEN 1782

written and may possibly write to me on the subject can
only be well-meaning advice which, however fine and
good it may be, is no longer applicable to a man who has
gone so far with a girl. In such a case nothing can be
postponed. It is better for him to put his affairs in order
and act like an honest fellow! God will ever reward that.
I mean to have nothing with which to reproach myself.

Now farewell. I kiss your hands a thousand times and
am ever your most obedient son

W. A. MOZART

P.S. — I embrace my dear sister with all my heart.
Adieu.

(457) Mozart to Baroness von Waldstadten

[Autograph in the possession of Mrs. Enid Lamb art, London}

VIENNA, August [? 2nd], 1782 *

MOST HIGHLY ESTEEMED BARONESS \

Madame Weber's maid-servant has brought me my
music, for which I have had to give her a written receipt.
She has also told me something in confidence which,
although I do not believe it could happen, as it would be
a disgrace to the whole family, yet seems possible when
one remembers Madame Weber's stupidity, and which
consequently causes me anxiety. It appears that Sophie2
went to the maid-servant in tears and when the latter
asked her what was the matter, she said: "Do tell
Mozart in secret to arrange for Constanze to go home, for
my mother is absolutely determined to have her fetched
by the police". Are the police in Vienna allowed to go
into any house? Perhaps the whole thing is only a trap to
make her return home. But if it could be done, then the

1 The autograph is undated.
2 Sophie, Frau Weber's youngest daughter.

I2IO

1782 MOZART TO HIS FATHER L. 458

best plan I can think of is to marry Constanze to-morrow
morning — or even to-day, if that is possible. For I should
not like to expose my beloved one to this scandal — and
there could not be one, if she were my wife. One thing
more. Thorwart has been summoned to the Webers
to-day. I entreat you, dear Baroness, to let me have your
friendly advice and to assist us poor creatures. I shall be
at home all day. I kiss your hands a thousand times and
am your most grateful servant

W. A. MOZART

In the greatest haste. Constanze knows nothing of this
as yet. Has Herr von Thorwart been to see you? Is it
necessary for the two of us to visit him after lunch to-day?

(458) Mozart to his Father

\Autograph in the Mozarteum, Salzburg]
MON TRES CHER FERE! VlENNE, ce 7 cTaout, 1782

You are very much mistaken in your son if you can
suppose him capable of acting dishonestly. My dear
Constanze — now, thank God, at last my wife I — knew my
circumstances and heard from me long ago all that I had
to expect from you. But her affection and her love for
me were so great that she willingly and joyfully sacrificed
her whole future to share my fate. I kiss your hands
and thank you with all the tenderness which a son has
ever felt for a father, for your kind consent and fatherly
blessing. But indeed I could safely rely on it. For
you know that I myself could not but see only too
clearly all the objections that could be raised against
such a step. At the same time you also know that I could
not act otherwise without injury to my conscience and my

1 The marriage took place on August 4th, 1782.
I2II

Z. 458 MOZART TO HIS FATHER 1782

honour. Consequently I could certainly rely on having
your consent. So it was that having waited two post-days
in vain for a reply and the ceremony having been fixed
for a day by which I was certain to have received it, I
was married by the blessing of God to my beloved
Constanze. I was quite assured of your consent and was
therefore comforted. The following day I received your
two letters at once — Well, it is over! I only ask your for
giveness for my too hasty trust in your fatherly love. In
this frank confession you have a fresh proof of my love of
truth and hatred of a lie. Next post-day my dear wife will
ask her dearest, most beloved Papa-in-law for his fatherly
blessing and her beloved sister-in-law for the continuance
of her most valued friendship. No one was present at the
wedding save her mother and her youngest sister, Herr
von Thorwart as guardian and witness for both of us,
Herr von Cetto, district councillor, who gave away the
bride, and Gilowsky as my best man.1 When we had been
joined together, both my wife and I began to weep. All
present, even the priest, were deeply touched and all wept
to see how much our hearts were moved. Our whole
wedding feast consisted of a supper given for us by the
Baroness von Waldstadten, which indeed was more
princely than baronial. My dear Constanze is now looking
forward a hundred times more to a visit to Salzburg, and
I wager — I wager — that you will rejoice in my happiness
when you get to know her, that is, if you agree with me
that a right-minded, honest, virtuous and amiable wife
is a blessing to her husband.

I send you herewith a short march.2 I only hope that
all will reach you in good time, and be to your taste. The
first Allegro must be played with great fire, the last — as
fast as possible. My opera was given again yesterday —

1 For Mozart's certificate of marriage see Abert, vol. ii. p. 907.
2 K. 408, No. 2, the promised addition to K. 385, the Haffner symphony.

1212

1782 MOZART TO HIS FATHER Z. 459

and that too at Gluck's request. He has been very com
plimentary to me about it. I am lunching with him
to-morrow. You see by my writing how I must hurry.
Adieu. My dear wife and I kiss your hands a thousand
times and we both embrace our dear sister with all our
hearts and I am ever your most obedient son

W. A. MOZART
August 7th, 1782.

(459) Mozart to his Father

[Autograph in the Mozarteum, Salzburg\

MON TR&S CHER PJERE! VIENNE, ce 17 d'Aout, 1782

I forgot to tell you the other day that on the Day of
Portiuncula * my wife and I performed our devotions
together at the Theatines. Even if a sense of piety had
not moved us to do so, we should have had to do it on
account of the banns, without which we could not have
been married. Indeed for a considerable time before we
were married we had always attended mass and gone to
confession and taken communion together; and I found
that I never prayed so fervently or confessed and took
communion so devoutly as by her side; and she felt the
same. In short, we are made for each other; and God who
orders all things and consequently has ordained this also,
will not forsake us. We both thank you most submissively
for your fatherly blessing. I hope you have now received
my wife's letter.

1 August 2nd. In 1223 Pope Honorius III, at the request of St. Francis,
granted an annual indulgence to anyone who should visit the Portiuncula
chapel in the Church of Santa Maria degli Angeli at Assisi on August 2nd.
Gregory XVI in 1622 extended it to all churches of the Observant Fran
ciscans; in 1856 it was further extended to all churches where the Third
Order of St. Francis was canonically established, and in 1910 to all Catholic
churches and chapels.

1213

L. 459 MOZART TO HIS FATHER 1782

In regard to Gluck, my ideas are precisely the same
as yours, my dearest father. But I should like to add
Something. The Viennese gentry, and in particular the
(Emperor,) must not imagine that I am on this earth solely
for the sake of Vienna. There is no monarch in the world
whom I should be more glad to serve than the Emperor,
but I refuse to beg for any post. I believe that I am capable
of doing credit to any court. If Germany, my beloved
fatherland, of which, as you know, I am proud, will not
accept me, then in God's name let France or England
become the richer by another talented German, to the
disgrace of the German nation. You know well that it is
the Germans who have always excelled in almost all the
arts.1 But where did they make their fortune and their
reputation? Certainly not in Germany! Take even the
case of Gluck. Has Germany made him the great man he
is? Alas no! Countess Thun, Count Zichy, Baron van
Swieten, even Prince Kaunitz, are all very much dis
pleased with the Emperor, because he does not value men
of talent more, and allows them to leave his dominions.
Kaunitz said the other day to the Archduke Maximilian,
when the conversation turned on myself, that "such
people only come into the world once in a hundred years
and must not be driven out of Germany, particularly when
we are fortunate enough to have them in the capital!' You
cannot imagine how kind and courteous Prince Kaunitz
was to me when I visited him. When I took my leave,
he said: "/ am much obliged to you, my dear Mozart,
for having taken the trouble to visit me" You would
scarcely believe what efforts Countess Thun, Baron van
Swieten and other eminent people are making to keep me
here. .But I cannot afford to wait indefinitely, and indeed
I refuse to remain hanging on here at their mercy.

1 For an interesting article on Mozart's patriotism as revealed in his
letters, see MM, November 1918, pp. 14-18.

1214

1782 MOZART TO HIS FATHER L. 459

Moreover, I think that even though he is the Emperor,
I am not so desperately in need of his favour. My idea is
to go to Paris next Lent, but of course not simply on
chance. I have already written to Le Gros about this and
am awaiting his reply. I have mentioned it here too —
particularly to people of position — -just in the course of
conversation. For you know that often in conversation
you can throw out a hint and that this is more effective
than if the same thing were announced in the tones of a
dictator. I might be able to get engagements for the
Concert Spirituel and the Concert des Amateurs — and
besides, I should have plenty of pupils — and now that I
have a wife I could superintend them more easily and
more attentively — and then with the help of compositions
and so forth — but indeed I should rely chiefly on opera
commissions. Latterly I have been practising my French
daily and have already taken three lessons in English. In
three months I hope to be able to read and understand
English books fairly easily. Now farewell. My wife and
I kiss your hands a thousand times and I am ever your
most obedient son

W. A. MOZART

P.S. — What does Luigi Gatti1 say?

My compliments to Perwein* I hope my dear sister's
indisposition will not have serious consequences. My dear
wife and I kiss her a thousand times and hope that she is
now quite well again. Adieu.

1 See p. 810, n. I. Abbate Luigi Gatti was appointed Kapellmeister at
Salzburg in February 1783.

2 Probably Ignaz Perwein (1758-1812), a schoolmaster and organist in
the neighbourhood of Salzburg. See Hammerle, op. cit. p. 56.

1215

L. 460 L. MOZART TO BARONESS V. WALDSTADTEN 1782

(460) Leopold Mozart to Baroness von Waldstadten,

Vienna

[Copy in the Preussische Staatsbibliothek, Berlin]

SALZBURG, August 2$rd, 1782
HIGHLY BORN AND GRACIOUS LADY!

I thank your Ladyship most warmly for the very
special interest you take in my circumstances and for your
extraordinary kindness in celebrating my son's wedding
day with such liberality. When I was a young fellow I
used to think that philosophers were people who said
little, seldom laughed and turned a sulky face upon the
world in general. But my own experiences have com
pletely persuaded me that without knowing it I must be
a philosopher. For having done my duty as a father,
having in countless letters made the clearest and most
lucid representations to Wolfgang on every point and
being convinced that he knows my trying circumstances,
which are extremely grievous to a man of my age, and
that he is aware of the degradations I am suffering in
Salzburg, as he must realise that both morally and
materially I am being punished for his conduct, all that
I can now do is to leave him to his own resources (as he
evidently wishes) and pray God to bestow on him His
paternal blessing and not withdraw from him His Divine
grace. For my part I shall not abandon the cheerfulness
which is natural to me and which in spite of my advancing
years I still possess, and I shall continue to hope for the
best. On the whole, I should feel quite easy in my mind,
were it not that I have detected in my son an outstanding
fault, which is, that he is far too patient or rather easy
going, too indolent, perhaps even too proud, in short, that
he has the sum total of all those traits which render a
man inactive\ on the other hand, he is too impatient, too

1216

MUZIO CLEMENTI (1794)
From an engraving by T. Hardy
(British Museum)

IJB2 L. MOZART TO BARONESS V. WALDSTADTEN Z. 460

hasty and will not bide his time. Two opposing elements
rule his nature, I mean, there is either too muck or too
little, never the golden mean. If he is not actually in want,
then he is immediately satisfied and becomes indolent and
lazy. If he has to bestir himself, then he realises his worth
and wants to make his fortune at once. Nothing must
stand in his way; yet it is unfortunately the most capable
people and those who possess outstanding genius who
have the greatest obstacles to face. Who will prevent him
from pursuing his present career in Vienna if he only has
a little patience? Kapellmeister Bonno is a very old man.
After his death Salieri J will be promoted and will make
room for someone else. And is not Gluck too an old man?
My dear lady, please instil a little patience into my son.
And may I ask you to let me have your opinion of his
circumstances? My daughter sends you her most respect
ful regards and both she and I wish that we had the good
fortune to be able to kiss your Ladyship's hands. She is
very much touched at being honoured quite undeservedly
with a remembrance from your Ladyship. Ah, if only we
were not so far away from Vienna! How delightful it
would be to devote ourselves together to music! May
Hope, sole consolation of our desires, soothe my spirit!
Perhaps I may yet be happy enough to be able to assure
your Ladyship in person not only of my friendship, which,
though it may be of little advantage to you, is heartfelt
and true, but also of my deepest esteem and regard. I am
indeed your most humble and obedient servant

LEOPOLD MOZART

My son wrote to me some time ago saying that, when
he married, he would not live with his wife's mother.

1 After the death of Bonno in 1788 Salieri was appointed Kapellmeister
to the Viennese court.

VOL. in 1217 M

L. 461 MOZART TO HIS FATHER 1782

I trust that by now he has left that house. If not, he is
storing up trouble for himself and his wife.

(461) Mozart to his Father

[Autograph in the Mozarteum, Salzburg]

MON TRES CHER P^REl VlENNE, ce 24 d'Aout, 1782

You have only imagined what I was really intending
and still intend to do, I must likewise confess the truth to
you, which is, that my wife and I have been waiting from
day to day for some sure information about the arrival of
the Russian visitors, in order to decide whether to under
take or to postpone the journey we have planned; and as
we have heard nothing definite up to this moment, I have
not been able to write to you on the subject. Some say
they are to arrive on September yth, others again that
they are not coming at all If the latter be the truth, we
shall be in Salzburg by the beginning of October. If,
however, they do come, then, according to the advice of
my good friends, it is not only very necessary that I
should be here, but my absence would be a real triumph
for my enemies and consequently highly detrimental to
me. If I am appointed music master to the Princess of
Wurtemberg, which is extremely probable, I can easily
obtain leave of absence for a time in order to visit my
father. If our project has to be postponed, no one will be
more disappointed than my dear wife and I, for we can
hardly await the moment to embrace our dearest, most
beloved father and our dearest sister.

You are perfectly right about France and England!
It is a step which I can always take, and it is better for
me to remain in Vienna a little longer. Besides, times may
change too in those countries. Last Tuesday (after, thank

1218

1782 MOZART TO HIS FATHER Z. 462

Heaven! an interval of a fortnight) my opera was again
performed with great success.

I am delighted that the symphony1 is to your taste.
A propos, you have no idea (but perhaps you have?) where
I am living. Where do you think? In the same house where
we lodged fourteen years ago, on the Hohe Briicke, in
Griinwald's house. But now it is called Grosshaupt's
house, No. 387.* Stephanie junior arrived yesterday and
I went to see him to-day. Elizabeth Wendling is also here.
Well, you must forgive me if I close this letter already,
but I have been wasting my time gossiping to Herr von
S track. I wish with all my heart that those Russian people
may not come, so that I may soon have the pleasure of
kissing your hands. My wife sheds tears of joy when she
thinks of our journey to Salzburg. Farewell. We kiss your
hands a thousand times and embrace our dear sister with
all our hearts and are ever your most obedient children

W. A. MOZART

Man and wife
Are one life.

(462) Mozart to his Father

[Autograph in the Mozarteum, Salzburg\
MON TRES CHER PERE! VlENNE, ce 31 August, 1782

You wonder how I can flatter myself that I shall be
maestro to the Princess? 3 Why, Salieri is not capable of
teaching her the clavier! All he can do is to try to injure
me in this matter by recommending someone else, which
quite possibly he is doing! On the other hand the Emperor

1 K- 385'

2 Now Wipplingerstrasse no. 25. The Mozarts took rooms in this house
on their return to Vienna from Olmutz in 1768.

3 Princess Elizabeth of Wurtemberg.

1219

L. 462 MOZART TO HIS FATHER 1782

knows me; and the last time she was in Vienna the Prin
cess would gladly have taken lessons from me. Moreover,
I know that my name is in the book which contains the
names of all those who have been chosen for her service.
Le Chevalier Hypolity has not put in an appearance yet.
You say that I have never told you on what floor we are
living? That in truth must have stuck in my pen! Well, I
am telling you now — that we are living on the second
floor. But I cannot understand how you got the idea that
my highly honoured mother-in-law is living here too. For
indeed I did not marry my sweetheart in such a hurry in
order to live a life of vexations and quarrels, but to enjoy
peace and happiness; and the only way to ensure this was
to cut ourselves off from that house. Since our marriage
we have paid her two visits, but on the second occasion
quarrelling and wrangling began again, so that my poor
wife started to cry. I put a stop to the bickering at once by
saying to Constanze that it was time for us to go. We have
not been there since and do not intend to go until we have
to celebrate the birthday or name-day of the mother or of
one of the two sisters. You say too that I have never told
you on what day we got married. I must indeed beg your
pardon — but either your memory has deceived you this
time, in which case you need only take the trouble to look
among my letters for that of August yth, where you will
find it stated clearly and distinctly that we confessed on
Friday, the Day of Portiuncula, and were married on the
following Sunday, August 4th — or you never received that
letter, which, however, is not very likely, as you got the
march1 which was enclosed with it and also replied to
various points in the letter. I now have a request to make.
Baroness Waldstadten is leaving here and would like to
have a good small pianoforte. As I have forgotten the name
of the pianoforte maker in Zweibriicken, I should like to

1 See p. 1 212, n. 2,
1220

1782 MOZART TO HIS FATHER L. 463

ask you to order one from him. It must, however, be ready
within a month or six weeks at the latest and the price
should be the same as that of the Archbishop's. May I also
ask you to send me some Salzburg tongues either by
some acquaintance or by mail coach (if the customs duty
does not make it impossible)? I am under great obligations
to the Baroness and when the conversation one day
turned on tongues and she said she would very much like
to try a Salzburg one, I offered to get one for her. If you
can think of any other delicacy for her and will send it
to me, I shall indeed be very much obliged to you. I am
particularly anxious to give her some such pleasure. I
can refund the cost through Peisser or give it to you when
we meet.

Can you send me some Schwarzreuter? 1 Now farewell.
My wife and I kiss your hands a thousand times and we
embrace our dear sister with all our hearts and are ever

most obedient daughter
^ most obedient son
WOLFGANG and CONSTANZE MOZART 2

P.S. — Should you be writing to my cousin,3 please give
her kind regards from us both. Addio.

(463) Mozart to his Father

[Autograph in the Mozarteum^ Salzburg] ,
MON TRES CHER PERE! VIENNA, September Ilth, 1782

Many thanks for the tongues. I gave two to the
Baroness and kept the other two for myself; and we are

1 A kind of trout (Salmo salvelinis) found in the Salzkammergut lakes,

2 After his marriage to Constanze Weber, Mozart's letters to his father
and to his sister bear, almost without exception, this double signature.

3 Maria Anna Thekla Mozart, the "Basle".

1221

L. 463 MOZART TO HIS FATHER 1782

to sample them to-morrow. Please be so good as to tell
me how you wish the payment to be made. If you can also
obtain some Schwarzreuter for me, you will indeed give
me much pleasure. The Jewess Eskeles l has no doubt
proved a very good and useful tool for breaking up the
friendship between the Emperor and the Russian court,
for the day before yesterday she was taken to Berlin in
order that the King might have the pleasure of her com
pany. She is indeed a sow of the first order. Moreover, she
was the whole cause of Giinther's misfortune, if indeed it be
a misfortune to be imprisoned for two months in a beautiful
room (with permission to have all his books, his pianoforte
and so forth) and to lose his former post, but to be ap
pointed to another at a salary of 1200 gulden; for yester
day he left for Hermannstadt. Yet an experience of that
kind always injures an honest man and nothing in the
world can compensate him for it. I just want you to
realise that he has not committed a great crime. His
conduct was due entirely to etourderie, or thoughtlessness,
and consequently lack of discretion, which in a Privy
Councillor is certainly a serious fault. Although he never
divulged anything of importance, yet his enemies, chief
of whom is the former Stadtholder, Count von Herber-
stein, managed to play their cards so cleverly that the
Emperor who formerly had such immense confidence in
Giinther that he would walk up and down the room arm
in arm with him for hours, now began to distrust him with
an equal intensity. To make matters worse, who should
appear on the scene but that sow Eskeles (a former
mistress of Giinther's), who accused him in the most
violent terms. But when the matter was investigated,
these gentlemen cut a very poor figure. However, the

1 For a full account of the Giinther-Eskeles cause celebre> which vindicates
the honour of Eleonore Fliess-Eskeles, see MM, February-May 1921,
p. 41 ff.

1222

1782 L. MOZART TO BARONESS V. WALDSTADTEN L. 464

affair had already caused terrific commotion; and great
people never like to admit that they have been in the
wrong. Hence the fate of poor Giinther, whom I pity from
my heart, as he was a very good friend of mine and, if
things had remained as they were, might have rendered
me good service with the Emperor. You can imagine what
a shock and how unexpected it was to me and how very
much upset I was; for Stephanie, Adamberger and I had
supper with him one evening and on the morrow he was
arrested. Well, I must close, for I may miss the post. My
dear wife and I kiss your hands a thousand times and
embrace our dear sister with all our hearts and are ever
your most obedient children

CONSTANZE and MOZART

My wife is almost ninety-one.1

(464) Leopold Mozart to Baroness von Waldstadten,

Vienna

\Copy in the Preussische Staatsbibliothek, Berlin\
SALZBURG, September l^th, 1782

HIGHLY BORN AND GRACIOUS LADY!

It is impossible for me to describe to your Ladyship
my heartfelt pleasure on reading your charming and
flattering letter. It reminded me, as I read it, of Wieland's
Sympathies.2 It is undoubtedly true that many people are
blessed with a higher plane of thought and unconsciously
dwell together in a secret spiritual union before they have
ever seen or spoken to one another. Good books and
music are your Ladyship's occupation and entertainment.

1 Constanze was nineteen.

2 Wieland's Sympathien, published in 1756, was one of his earliest prose
writings.

1223

Z. 464 L. MOZART TO BARONESS V. WALDSTADTEN 1782

They are also mine. Your Ladyship has withdrawn her
self from social functions; and for several months I too
have not appeared at court and only do so when I am
obliged to. I live quietly with my daughter and have a
few friends who come to see me. Reading, music and an
occasional walk are our recreation and in bad weather a
very humble game of taroc or tresette and occasionally
a game of chess. Further, your Ladyship feels that
sorrow has greatly saddened you and refuses when out
of humour to be a burden to anyone. I for my part have
had so much to endure from unmerited persecutions and
have become so closely acquainted with envy, falseness,
deception, malice and all the many other fine qualities of
human nature that I purposely avoid large social func
tions in order not to become completely out of humour
and to retain that modicum of cheerfulness which I still
possess. Hence it is naturally my most ardent wish to
have the privilege of meeting your Ladyship, as I feel
certain that your Ladyship's outlook entirely agrees with
mine, and that we should chatter away to our hearts' con
tent. I regard it indeed as a great compliment that your
Ladyship should consider me worthy of your invaluable
friendship and quite undeserved esteem; and as I see no
means of deserving it — of really deserving it, I hope at
least, without saying anything ridiculous or improper, to
find suitable words to express the feeling of great regard
which I cherish towards a lady of such worth.

Your Ladyship has been so gracious as to offer me a
lodging, should I come to Vienna. Indeed I am quite
overcome! It would be most daring of me to avail myself
of this gracious invitation; but my first outing in Vienna
will certainly be to kiss your Ladyship's hands. Who
can tell? Perhaps I may still have the good fortune to
do so!

I beg your Ladyship to take care of your health and

1224

1782 MOZART TO HIS FATHER Z. 465

well-being. I was grievously distressed when I read that,
owing to much sorrow and suffering, your Ladyship had
lost your health and peace of mind. May God in His
goodness watch over you! I am profoundly affected! After
receiving my letter my son to some extent abandoned his
resolve to leave Vienna; and, as he is coming to visit
me in Salzburg, I shall make further very necessary and
weighty representations to him. I am delighted to hear
that his wife does not take after the Webers. If she did,
he would indeed be unhappy. Your Ladyship assures me
that she is a good soul — and that is enough for me!

My daughter kisses your Ladyship's hands and like
myself is disappointed that we are so far from Vienna.
Meanwhile I console myself with the thought that although
mountains and valleys cannot meet, people can do so;
that your Ladyship will continue to think me worthy of
your favour and esteem; and that I, through my son, shall
always continue to have news of the health and happiness
of so kind a lady. I hope to be able to prove that with the
greatest esteem, regard and devotion I am your Lady
ship's most humble and obedient servant

LEOPOLD MOZART

(465) Mozart to his Father

[Autograph in the Mozarteum> Salzburg]

MON TRES CHER PERE! VlENNE, ce 2$th Sep*™,

I have received your last letter of September 2oth and
hope that you got my four lines, which only said that we
were in good health. Now for a really comical event! But
who can prevent possible coincidences and developments?
Herr Gabel, who arrived here some days ago, is actually
with me and is waiting for me to finish this letter in order
to accompany my sonatas on the violin, which, if he is

1225

L. 465 MOZART TO HIS FATHER 1782

to be believed, he must play well. He has already played
to me on the horn and could really do nothing on it.
But what I can do for him I will; it is enough that I
am your son. He sends his compliments to you both. It
was news to me to hear that the paintings in the churches
which serve no useful purpose, the many votive tablets
and the instrumental music and so forth, which are to be
done away with in Vienna, have already been abolished
in Salzburg. No doubt (the Archbishop) hopes by doing
this to ingratiate himself with (the Emperor;) but I can
hardly believe that this policy of his will be of much
service to him. Well, I can't bear to see anyone waiting
for me; and I dislike to be kept waiting myself. So I must
reserve for my next letter my description of Baroness von
Waldstadten and merely ask you to do me a most urgent
favour. But I beg you, on account of the place where I
am, not to divulge what I am about to say. The Prussian
Ambassador, Riedesel, has informed me that he has been
commissioned by the Berlin court to send my opera "Die
Entfiihrung aus dem Serail" to Berlin and has asked me
to have it copied, adding that the remuneration for the
music will follow in due course. I promised at once to
have this done. Now, as I have not got the opera myself,
I should have to borrow it from the copyist, which would
be very inconvenient, for I could not be sure of keeping
it for three days in succession, as the Emperor often sends
for it (he did so only yesterday) and, moreover, the opera
is very often given. Why, since August i6th it has been
performed ten times. So my idea is to have it copied in
Salzburg, where it could be done more secretly and more
cheaply! I beg you, therefore, to have the score copied
out at once — and as quickly as possible. If, when you send
me the copy, you will let me know the cost, I shall remit
the amount at once through Herr Peisser. Now farewell.
My wife and I kiss your hands a thousand times and

1226

1782 MOZART TO BARONESS VON WALDSTADTEN Z. 466

embrace our dear sister with all our hearts and we are
your most obedient children

W: A: and M: C: MOZART

(466) Mozart to Baroness von Waldstadten

\Autograph in the possession of Frau Floersheim-Koch, Florence}

DEAREST BARONESS! VIENNA, September 28^, 1782

When your Ladyship was so gracious yesterday as
to invite me to lunch with you to-morrow, Sunday, I had
forgotten that a week ago I had made an engagement to
lunch on that day in the Augarten.

Martin, the little angel, who fancies himself under an
obligation to me in several ways, absolutely insists on
treating me to a dinee. I thought yesterday that I could
arrange and accommodate the matter in accordance with
my wishes; but it has proved impossible, as the little angel
has already ordered and arranged everything, and conse
quently would be put to useless expense. Therefore on
this account your Ladyship will kindly excuse me this
time, and with your Ladyship's permission we shall both
have the honour of waiting upon you next Tuesday to
deliver our congratulations and to give Fraulein von
Aurnhammer r some purgations ; if she must let us see her
toilet operations. But now, joking apart, I really do not
want to let the concerto 2 which I played in the theatre
go for less than six ducats. On the other hand I should
undertake to pay for the copying. As for the beautiful
red coat, which attracts me enormously, please, please let
me know where it is to be had and how much it costs — for
that I have completely forgotten, as I was so captivated

1 Since her father's death Fraulein Aurnhammer had been living with the
Baroness von Waldstadten.

2 Probably K. 175, which Mozart played at his concert on March 3rd,
1782. See p. 1183.

1227

L. 467 MOZART TO BARONESS VON WALDSTADTEN

by its splendour that I did not take note of its price.
I must have a coat like that, for it is one that will
really do justice to certain buttons which I have long
been hankering after. I saw them once, when I was
choosing some for a suit. They were in Brandau's button
factory in the Kohlmarkt, opposite the Milano. They are
mother-of-pearl with a few white stones round the edge
and a fine yellow stone in the centre. I should like all my
things to be of good quality, genuine and beautiful. Why
is it, I wonder, that those who cannot afford it, would like
to spend a fortune on such articles and those who can, do
not do so? Well, I think it is long past the time for me to
stop this scribbling, j kiss your hands, and hoping to see
you in good health the Tuesday j am your most humble
servant x

MOZART

Constanze, my better half, kisses your Ladyship's
hands a thousand times and gives that Aurnhammer girl
a kiss. But I am not supposed to know about this, for the
very thought makes me shudder.

(467) Mozart to Baroness von Waldstddten

[Copy in the Preiissische Staatsbibliothek, Berlin]

VIENNA, October 2nd, 1782
DEAREST, BEST AND LOVELIEST OF ALL,
GILT, SILVERED AND SUGARED,
MOST VALUED AND HONOURED
GRACIOUS LADY

BARONESS!

Herewith I have the honour to send your Ladyship
the rondo 2 in question, the two volumes of plays and

1 In the autograph this sentence is in English.
2 Probably K. 382. See p. 1189, ^3-

1228

ij82 MOZART TO BARONESS VON WALDSTADTEN Z. 467

the little book of stories. I committed a terrible blunder
yesterday! I felt all the time that I had something more
to say and yet I could cudgel nothing out of my stupid
skull. But it was to thank your Ladyship for having at
once taken so much trouble about the beautiful coat,
and for your goodness in promising to give me one like
it. But it never occurred to me, which is what usually
happens with me. It is my constant regret that I did not
study architecture instead of music, for I have often heard
it said that he is the best architect to whom nothing ever
occurs.1 I can say with truth that I am a very happy and
a very unhappy man — unhappy since the night when I
saw your Ladyship at the ball with your hair so beauti
fully dressed — for — gone is my peace of mind! Nothing
but sighs and groans! During the rest of the time I spent
at the ball I did not dance — I skipped. Supper was
already ordered, but I did not eat — I gobbled. During
the night instead of slumbering softly and sweetly — I
slept like a dormouse and snored like a bear and (with
out undue presumption) I should almost be prepared to
wager that your Ladyship had the same experience a
proportionl You smile! you blush! Ah, yes — I am indeed
happy. My fortune is made! But alas! Who taps me on
the shoulder? Who peeps into, my letter? Alas, alas, alas!
My wife! Well, well, in the name of Heaven, I have taken
her and must keep her! What is to be done? I must praise
her — and imagine that what I say is true! How happy I
am that I need no Fraulein Aurnhammer as a pretext
for writing to your Ladyship, like Herr von Taisen or
whatever his name is! (how I wish he had no name!), for
I myself had something to send to your Ladyship.
Moreover, apart from this, I should have had occasion to
write to your Ladyship, though indeed I do not dare to

1 Mozart is punning on the word "einfallen", which means "to collapse"
and "to occur".

1229

Z. 468 LEOPOLD MOZART TO J. G. I. BREITKOPF 1782

mention it. Yet why not? Well then, courage! I should
like to ask your Ladyship to — Faugh, the devil — that
would be too gross! A propos. Does not your Ladyship
know the little rhyme?

A woman and a jug of beer,
How can they rhyme together?
The woman has a cask of beer
Of which she sends a jugful here.
Why, then they rhyme together.

I brought that in very neatly, didn't I? But now,
senza burled If your Ladyship could sent me a jugful
this evening, you would be doing me a great favour. For
my wife is — is — is — and has longings — but only for beer
prepared in the English way! Well done, little wife! I see
at last that you are really good for something. My wife,
who is an- angel of a woman, and I, who am a model
husband, both kiss your Ladyship's hands a thousand
times and are ever your

faithful vassals,
MOZART magnus, corpore parvus,

et
CONSTANTIA, omnium uxorum pulcherrima

et prudentissima.
Vienna, October 2nd, 1782.

Please give my kind regards to that Aurnhammer girl.
(468) Leopold Mozart to J. G. I. Breitkopf, Leipzig

[Extract] [Autograph formerly in the possession of Dr. E. Prieger, Bonn\

SALZBURG, October qth, 1782

My son will probably remain in Vienna for good. He
has written a German opera, "Die Entflihrung aus dem
Serail". It is in three acts and is a free adaptation of

1 Joking apart.
1230

1782 MOZART TO HIS FATHER L. 469

Bretzner's libretto and has been arranged for the Imperial
National Theatre. That it has won applause I gather
from the fact that it has already been performed sixteen
times.

(469) Mozart to his Father

[Autograph in the Mozarteum, Salzburg\

MON TRES CHER P£RE! VlENNE, ce $ d* October, 1782

I can only reply to the chief points of your letter, as
I have just this moment received it. Unfortunately I have
had to read the exact reverse of what I expected. I went
myself to see Baron von Riedesel, who is a charming
man, and as I was fully confident that my opera was
already being copied, I promised to let him have it at
the end of this month or the beginning of November at
latest. I therefore beg you to make sure that I shall have
it by that time. But in order to relieve you of all care and
anxiety on the subject (which, however, I most gratefully
regard as a proof of your fatherly love), I can say nothing
more convincing than that I am extremely grateful to the
Baron for having ordered the copy from me and not from
the copyist, from whom he could have got it at any time
by paying cash. Besides, it would mortify me very much,
if my talent was such that it could be remunerated once
and for all — and with a hundred ducats too! At the
moment I shall say nothing to anyone, simply because it
is unnecessary. If my opera is given in Berlin,1 of which
there seems no doubt (which is to me the most pleasing
feature of the affair), people will certainly hear about it.
And, what is more, my enemies will not mock me, nor
treat me like a contemptible fellow, but will only be too
glad to give me an opera to compose if I choose — though

1 The "Entfiihrung aus dem Serail" was not performed in Berlin until
1788. It was given in Prague, Mannheim, Frankfurt, Bonn and Leipzig in
1783, Salzburg in 1784, Kassel in 1785, and Breslau and Coblenz in 1787.

1231

Z. 469 MOZART TO HIS FATHER 1782

very likely I shall not choose. What I mean is that I am
willing to write an opera, but not to look on with a hun
dred ducats in my pocket and see the theatre making four
times as much in a fortnight.1 I intend to produce my
opera at my own expense, I shall clear at least 1200
gulden by three performances and then the management
may have it for fifty ducats. If they refuse to take it, I
shall have made some money and can produce the opera
anywhere. Well, I hope that hitherto you have not
detected the least sign of an inclination on my part to
act shabbily. No man ought to be mean, but neither
ought he to be such a simpleton as to let other people take
the profits from his work, which has cost him so much
study and labour, by renouncing all further claims upon it.
The Grand Duke arrived yesterday. Well, the dis
tinguished clavier teacher for the Princess has at last
been appointed. I need only mention his pay and you
will easily estimate the competence of this master — 400
gulden. His name is Summer.2 Even if I were dis
appointed, I should do my best not to let it be seen. But
as things are, I need not, thank God, make any pretence,
for the only thing which would have mortified me would
have been my appointment, which, of course, I should
have had to decline — always an unpleasant proceeding,
when one is in the unfortunate position of having to
refuse a great lord. I must urge you once more to hurry
up as much as possible the copying, of my opera. And
while I kiss your hands a thousand times I am ever your
most obedient son

W. A. MOZART

1 According to a letter from Schroder to Dalberg of May 22nd, 1784
(quoted in Abert, vol. i. p. 896, n. 3), Mozart received 50 ducats for his
opera. The usual sum paid to a composer was 100 ducats.

2 Georg Summer (1742-1809) was appointed in 1781 instructor on the
clavier to the Imperial Court. From 1791 until his death he was organist in
the Vienna Court Chapel.

1232

MARIANNE MOZART, FREIFRAU VON BERCHTOLD ZU

SONNENBURG (1785)

From a portrait by an unknown artist

(Mozart Museum, Salzburg)

1782 MOZART TO HIS FATHER £.470

My dear wife kisses your hands and we both embrace our
dear sister with all our hearts. We saw the cross which my
sister received from Baroness Waldstadten the day before
she sent it to her. I despatched by the mail coach to-day
five quires of ruled paper with twelve staves to a page.

We do not yet know — nor indeed does the Baroness
herself — when she is going into the country. But as soon
as I hear, I shall write and tell you. Adieu.

(470) Mozart to his Father

[Autograph in the Mozarteum, Salzburg}
MON TRES CHER PERE! VIENNA, October I2th, 1782

If I could have foreseen that the copyists in Salzburg
would have so much to do, I should have decided
to have the opera copied here in spite of the extra
expense. Well, I must go off to the Ambassador and
explain the real reason to him. But please do your very
best to have it sent to me soon, and the sooner, the better.
You think that I should not have got it in a shorter time
from a Vienna copyist? Why, I could have got it from the
theatrical copyist here within a week or at most ten days.
The fact that that ass Gatti asked the Archbishop to
be allowed to compose a serenade, alone renders him
worthy of the name and makes me surmise that it is equally
applicable to his learning in music.

You say that 400 gulden a year as an assured salary are
not to be despised. What you say would be true if in
addition I could work myself into a good position and
could treat these 400 gulden simply as an extra. But
unfortunately that is not the case. I should have to con
sider the 400 gulden as my chief income and everything
I could earn besides as a windfall, the amount of which
would be very uncertain and consequently in all proba-
VOL. in 1233 N

L. 470 MOZART TO HIS FATHER 1782

bility very meagre. For you can easily understand that
you cannot act as independently towards a pupil who is a
Princess as towards other ladies. If a Princess does not
feel inclined to take a lesson, why, you have the honour
of waiting until she does. She is living with the Salesians
auf der Wieden, so that if you do not care to walk, you
have the honour of paying at least a zwanziger * to drive
there and back. Thus of my pay only 304 gulden would
remain, I mean, if I were only to give three lessons a week;
and if I were obliged to wait, I should be neglecting in the
meantime my other pupils or other work (by which I
might easily make more than 400 gulden). If I wanted to
come in to Vienna, I should have to pay double, as I
should be obliged to drive out again. If I stayed auf der
Wieden and were giving my lesson in the morning, as
no doubt I should be doing, I should have to go at lunch,
time to some inn, take a wretched meal and pay extrava
gantly for it. Moreover, by neglecting my other pupils, I
might lose them altogether — for everyone considers that
his money is just as good as that of a Princess. At the same
time I should be losing the time and inclination to earn
more money by composition. To serve a great lord (be
the office what it may) a man should be paid a sufficient
income to enable him to serve his patron alone, without
being obliged to seek additional earnings in order to
avoid penury. A man must provide against want. Please
do not think that I am so stupid as to tell all this to anyone
else. But believe me, (the Emperor) himself is well aware
of his own meanness and has passed me over solely on
this account. No doubt, if I had applied for the appoint
ment I should certainly have got it, but with more than
400 gulden, though probably with a less salary than
would have been fair and just. I am not looking for pupils,
for I can have as many as I please; and from two of them,

1 See p. 1147, n. 2.
1234

IJ82 MOZART TO HIS FATHER L. 471

without causing me the slightest hindrance or incon
venience, I get as much as the Princess gives her master,
who has thus no better prospect than that of avoiding
starvation for the rest of his life. You know well how
services are generally rewarded by great lords. Well, I
must close, for the post is going. We kiss your hands a
thousand times and embrace our dear sister with all our
hearts and are ever your most obedient children

W: ET C: MOZART
More the next time.

(471) Mozart to his Father

\_Autograph in the Mozarteum, Salzburg]

MON TRES CHER PERE! VlENNE, ce 19 d'octobre, 1782

I must again write in a hurry. I do not understand
how it is, but formerly I always used to get a letter from
you on Friday after lunch; but now, send as I will, I never
get it until Saturday evening. I am very sorry that you
have had so much trouble over my opera. Indeed I have
heard about England's victories1 and am greatly delighted
too, for you know that I am an out-and-out Englishman.

The Russian Royalties left Vienna to-day. My opera
was performed for them the other day, and on this occa
sion I thought it advisable to resume my place at the
clavier and conduct it. I did so partly in order to rouse
the orchestra who had gone to sleep a little, partly (since
I happen to be in Vienna) in order to appear before the
royal guests as the father of my child.

My dearest father, I must confess that I have the most
impatient longing to see you again and to kiss your hands;
and for this reason I wanted to be in Salzburg on
November I5th, which is your name-day. But the most

1 The relief of Gibraltar by Lord Howe and Sir Edward Hughes's crush
ing defeat of the French navy off Trincomalee.

1235

L. 432 MOZART TO HIS FATHER 1782

profitable season in Vienna is now beginning. The
nobility are returning from the country and are taking
lessons. Moreover, concerts are starting again. I should
have to be back in Vienna by the beginning of December.
How hard it would be for my wife and myself to be obliged
to leave you so soon! For we would much rather enjoy for
a longer period the company of our dear father and our
dear sister. So it depends on you — whether you prefer to
have me for a longer or shorter time. We are thinking of
going to you in the spring. If I only mention Salzburg
to my dear wife, she is already beside herself with joy.
The barber of Salzburg (not of Seville) called on me and
delivered kind messages from you, from my sister and
from KatherL Now farewell. We both kiss your hands a
thousand times and embrace my dear sister with all our
hearts and are ever your most obedient children

M: C: ET W: A: MOZART

(472) Mozart to his Father

[Autograph in the Mozarteum, Salzburg}

MON TRES CHER PERE! VIENNE, ce 26 cToctobre, '82

How gladly would we take the post-chaise and alia
Wolfgang Mozart fly to Salzburg! But this is quite out
of the question, because I cannot get away from here
before November 3rd without ruining someone, as
Fraulein von Aurnhammer (whom I have placed with
Baroness von Waldstadten, who gives her board and
lodging) is giving a concert in the theatre on that day and
I have promised to play with her. My wife's boundless
desire and my own to kiss your hands and to embrace
our dear sister will make us do all in our power to enjoy
this happiness and pleasure as soon as possible. Enough!
All I can say as yet is that the month of November is not
favourable to those natives of Salzburg who may not

1236

i?82 MOZART TO HIS FATHER L.

be able to tolerate my presence. I have many things too
to discuss with you, my dearest father, on the subject of
music. It is all the same to me whether the opera is
stitched together or bound; I should have it bound in blue
paper. You will see by my writing that I am in a desperate
hurry. It is now seven o'clock and in spite of all my
enquiries I have only this moment received your letter.
Well, adieu. My dear wife and I kiss your hands a
thousand times and embrace our dear sister with all our
hearts and are ever your most obedient children

W. AND C. MOZART

(473) Mozart to his Father

{Autograph in the Mozarteum^ Salzburg]
MON TRES CHER PERE! VlENNE, ce 13 de 9*", 1782

We are in considerable perplexity. I did not write to
you last Saturday, because I thought we were certain to
leave Vienna on Monday. But on Sunday the weather
became so dreadful that carriages could scarcely make
their way through the town. I still wished to set off on
Monday afternoon, but I was told at the post that not
only would each stage take four or five hours, but we
should not be able to get much beyond the first and
should have to turn back. The mail coach with eight
horses did not even reach the first stage and has returned
to Vienna. I then intended to leave to-morrow, but my
wife has such a severe headache to-day that, although she
insists on setting out, I dare not allow her to run such a
risk in this odious weather. So I am waiting for another
letter from you (I trust that in the meantime road con
ditions will have improved) and then we shall be off.
For the pleasure of embracing you again, my dearest
father, outweighs all other considerations. My pupils can

1237

Z. 474 MOZART TO HIS FATHER 1782

quite well wait for me for three or four weeks. For
although the Countesses Zichy and Rumbeck have
returned from the country and have already sent for me,
it is not at all likely that they will engage another master
in the meantime. Well, as I have not been so fortunate as
to be able to congratulate you in person, I now do so in
writing and send you the wishes of my wife and your
future grandson or granddaughter. We wish you a long
and happy life, health and contentment and whatever you
wish for yourself. We kiss your hands a thousand times
and embrace our dear sister with all our hearts and are
ever your most obedient children

W: et C: MOZART

(474) Mozart to his Father

\Autograph in the Mozarteum, Salzburg}
MON TRES CHER PEREJ VlENNE, ce 2O de 9*", 1782

I see alas! that the pleasure of embracing you must
be postponed until the spring, for my pupils positively
refuse to let me go, and indeed the weather is at present
far too cold for my wife. Everyone implores me not to
take the risk. In spring then (for I call March, or the
beginning of April at latest spring, as I reckon it accord
ing to my circumstances), we can certainly travel to
Salzburg, for my wife is not expecting her confinement
before the month of June, So I am unpacking our trunks
to-day, as I left everything packed until I heard from you.
For had you desired us to come, we should have been off
at once without telling a soul, just to show you that we
were not to blame in the matter. M. and Mme Fischer
and the old lady (who all send their greetings) can best
tell you how sorry I am not to be able to make the journey
at present. Yesterday Princess Elizabeth (as it was her
name-day) received from the Emperor a present of

1238

1782 MOZART TO HIS FATHER L. 475

90,000 gulden as well as a gold watch set with brilliants.
She was also proclaimed an Archduchess of Austria, so
she now has the title of Royal Highness. The Emperor
has had another attack of fever. < I fear that he will not
live long) and only hope that I am mistaken.

Madame Heisig, nee De Luca, who visited Salzburg
with her husband and played the psaltery in the theatre, is
in Vienna and is giving a strumming recital. She sent me
a written invitation and begged me to speak well of her,
adding that she attached great value to my friendship.
Well, I must close. My wife and I kiss your hands a
thousand times and embrace our dear sister with all our
hearts and are ever your most obedient children

W: et C: MOZART

(475) Mozart to his Father

[A utograph in the Mozarteum, Salzburg]

MON TRES CHER PERE! VlENNE, ce 21 de decembre, 1782
Passionate as was my longing to get a letter from
you again after a silence of three weeks, I was none
the less amazed at its contents. In short, we have both
been in the same state of anxiety. You must know
that I replied to your last letter on December 4th and
expected an answer from you in eight days. Nothing
came. Well, I thought that perhaps you had not had time
to write; and from a rather pleasant hint in your previous
letter, we almost thought that you would arrive yourself.
The next post again brought us nothing. All the same I
intended to write, but was unexpectedly summoned to the
Countess Thun and consequently was prevented from
doing so. Then our anxiety began. We consoled ourselves,
however, with the thought that if anything had been
wrong, one of you would have written. At last your letter

1239

L. 475 MOZART TO HIS FATHER 1782

came to-day, by which I perceive that you never received
my last letter. I can scarcely think that it was lost in the
post, so no doubt the maid must have pocketed the
money. But, by Heaven! I would far rather have made a
present of six kreutzers to such a brute than have lost
my letter so mal apropos] and yet it is not always possible
to post the letter oneself. We have now got another maid,
whom I have lectured well on the subject. What annoys
me most of all is that it has caused you so much anxiety
and also that I can no longer remember exactly what I
wrote. I know that I was at a concert at Galitzin's that
same evening and that I mentioned among other things
that my poor little wife was obliged to content herself for
the present with a little silhouette portrait of yourself, which
she always carries about in her bag and kisses more than
twenty times a day. I also asked you to send me by the
first opportunity which presents itself the new symphony
which I composed for Haffner at your request.1 I should
like to have it for certain before Lent, for I should very
much like to have it performed at my concert. I asked you
too whether you would like to know to what little silhouette
portrait I was referring? Ah! Yes! I added that I was
most anxious to know what very urgent matter you wished
to discuss with me. And then about our visit in the spring!
That is all that I can remember. Confound the creature!
For how can I know whether that letter did not contain
something which I should be very sorry to see falling into
other hands? But I do not think that it did and I trust
that it didn't; and I am only pleased and happy to hear
that you are both in good health. My wife and I, thank
God, are very well.

Is it true that the Archbishop is coming to Vienna after
the New Year? Countess Liitzow has been here for three
weeks and I only heard of her arrival yesterday. Prince

, ' K. 385.
1240

1782 MOZART TO HIS FATHER L. 475

Galitzin told me of it. I am engaged for all his concerts.
I am always fetched in his coach and brought to his house
and treated there most magnificently. On the loth my
opera was performed again with the greatest applause. It
was the fourteenth time and the theatre was as full as on
the first night, or rather it was as packed as it has in
variably been. Count Rosenberg himself spoke to me at
Prince Galitzin's and suggested that I should write an
Italian opera. I have already commissioned someone to
procure for me from Italy the latest opere buffe texts to
choose from, but as yet I have not received any, although
I myself wrote to Ignaz Hagenauer about it. Some
Italian male and female singers are coming here at
Easter. Please send me Lugiati's address at Verona, for
I should like to try this channel too.

A new opera, or rather a comedy with ariettas by
Umlauf, entitled "Welche ist die beste Nation?" was
performed the other day I — a wretched piece which I
could have set to music, but which I refused to undertake,
adding that whoever should compose music for it without
altering it completely would run the risk of being hooted
off the stage; had it not been Umlauf s, it would certainly
have been hooted; but, being his, it was only hissed. Indeed
it was no wonder, for even with the finest music no one
could have tolerated such a piece. But, what is more, the
music is so bad that I do not know whether the poet or
the composer will carry off the prize for inanity. To its
disgrace it was performed a second time; but I think we
may now say, Punctum satis.

Well, I must close, or I shall miss the post, My dear
wife and I kiss your hands a thousand times and embrace
our dear sister with all our hearts and are ever your most
obedient children

W. et C. MOZART

* On December I3th.
1241

L. 476 MOZART TO HIS FATHER 1782

(476) Mozart to his Father

[Autograph in the Mozarteum, Salzburg]

MON TRES CHER PERE! VlENNE, ce 28 de decembre, 1782
I must write in the greatest haste, as it is already
half past five and I have asked some people to come here
at six for a little concert. Altogether I have so much to do
that often I do not know whether I am on my head or my
heels. I spend the whole forenoon giving lessons until
two o'clock, when we have lunch. After this meal I must
give my poor stomach an hour for digestion. The evening
is therefore the only time I have for composing and of
that I can never be sure, as I am often asked to perform
at concerts. There are still two concertos wanting to make
,up the series of subscription concertos.1 These concertos
are a happy medium between what is too easy and too
difficult; they are very brilliant, pleasing to the ear, and
natural, without being vapid. There are passages here and
there from which connoisseurs alone can derive satis
faction; but these passages are written in such a way that
the less learned cannot fail to be pleased, though without
knowing why. I am distributing the tickets at six ducats
apiece. I am now finishing too the piano arrangement of
my opera, which is about to be published; and at the same
time I am engaged in a very difficult task, the music for
a bard's song by Denis 2 about Gibraltar. But this is a
secret, for it is a Hungarian lady who wishes to pay this
compliment to Denis. The ode is sublime, beautiful, any
thing you, like, but too exaggerated and pompous for my

1 • K. 413-415, composed in 1782. According to Kochel, p. 502, K. 414 was
composed before K. 413.

2 An ode entitled "Gibraltar" by J. N. C. Michael Denis (1729-1800),
Jesuit priest and poet. The poem was written in the style of Klopstock.
Mozart's setting was never finished. The fragment "0 Calpe!" K. App. 25,
consists of 58 bars.

1242

1783 MOZART TO HIS FATHER £.477

fastidious ears. But what is to be done? The golden mean
of truth in all things is no longer either known or appre
ciated. In order to win applause one must write stuff which
is so inane that a fiacre could sing it, or so unintelligible
that it pleases precisely because no sensible man can
understand it. This is not what I have been wanting to
discuss with you; but I should like to write a book, a short
introduction to music, illustrated by examples, but, I
need hardly add, not under my own name.

I send you an enclosure from Baroness Waldstadten,
who fears that her second letter may have gone astray.
You cannot have received her last letter, for you have not
mentioned it. I asked you about it in the letter which was
lost. Well, adieu. More next time. My little wife and I
kiss your hands a thousand times and embrace our dear
sister with all our hearts and are ever your most obedient
children

W. et C. MZT.

(477) Mozart to his Father

{Autograph in the Preussische Staatsbibliothek, Berlin\
MON TRES CHER PERE! - VlENNE, ce 4 de Janvier, 1783

It is impossible for me to write very much, as we have
just got home from Baroness Waldstadten's and I have to
change all my clothes, as I am invited to a concert at
Court Councillor Spielmann's. We both thank you for
your New Year wishes and confess of our own accord that
we were absolute owls to have forgotten our duty so
completely. So, laggards as we are, we are sending you,
not our New Year wishes, but our general everyday wishes;
and we must leave it at that. It is quite true about my
moral obligation and indeed I let, the word flow from my

1243

£•477

MOZART TO HIS FATHER

^783

pen on purpose. I made the promise in my heart of hearts
and hope to be able to keep it. When I made it, my wife
was not yet married; yet, as I was absolutely determined
to marry her after her recovery, it was easy for me to
make it — but, as you yourself are aware, time and other
circumstances made our journey impossible. The score
of half of a mass,1 which is still lying here waiting to
be finished, is the best proof that I really made the
promise.

I got a new pupil to-day, the elder Countess Palfy,, the
daughter of (the Archbishop's sister.) But please keep
this news to yourself for the present, for I am not quite
sure whether her family would like it to be known. It is
all the same to me whether you send me the symphony of
the last Haffner music2 which I composed in Vienna,
in the original score or copied out, for, as it is, I shall
have to have several copies made for my concert. I
should like to have the following symphonies as soon as
possible.

1 K. 427, Mozart's mass in C minor, at which he worked during the years
1782 and 1783 and which he left unfinished. It was performed in the Peters-
kirche in Salzburg on August 25th, Constanze singing the soprano part.
Mozart used portions of this mass for his cantata "Davidde penitente",
written in 1785.

2 K. 385. 3 K 204, a serenade, composed in 1775.
4 K. 201, composed in 1774.

1244

17*3

MOZART TO HIS FATHER
tr bis

Z. 477

Then there are a few counterpoint works by Eberlin
copied out on small paper and bound in blue,3 and some

Porco

sow

sus

cochon

things of Haydn,4 which I should like to have for Baron
van Swieten, to whose house I go every Sunday from
twelve to two. Tell me, are there any really good fugues
in Haydn's last mass or vesper music, or possibly in both?
If so, I should be very much obliged to you if you would
have them both scored for me bit by bit. Well, I must
close. You will have received my last letter with the
enclosure from the Baroness. She did not tell me what she
had written to you; she just said that she had asked you
about something to do with music. But the next time I go
to see her, she will certainly tell me all about it, as she
knows that I am not at all inquisitive. Indeed she is a
dreadful chatterbox. I have it, however, from a third
party that she would like to have someone for herself,
as she is leaving Vienna. Well, I just want to warn you
that, if this is the case, you should be a little bit on your
guard, as she is as changeable as the wind. Besides, I
feel sure that however much she may imagine that she is

2 K. 183, composed in 1773.
4 Michael Haydn.

1 K. 182, composed in 1773.
3 Cp. p. 469, n. I.

1245

L. 478 MOZART TO HIS FATHER 1783

going to leave Vienna, she will hardly do so; for as long
as I have had the honour of her acquaintance, she has
always been on the point of leaving. Well, adieu. We kiss
your hands a thousand times and embrace our dear sister
with all our hearts and are ever your obedient children

W. et C. MOZART

P.S. — Only three concertos1 are being published and
the price is four ducats.

(478) Mozart to his Father

[Autograph in the Mozarteum, Salzburg}
MON TRES CHER PERE! VlENNE, ce 8 de Janvier, 1783

Were it not on account of poor Finck,2 1 should really
have to ask you to excuse me to-day and put off writing
until next post-day, as I have to finish a rondo 3 this
evening for my sister-in-law Aloysia Lange, which she is
to sing on Saturday at a big concert in the Mehlgrube.
Meanwhile you will have received my last letter and
you will have seen from it that I knew nothing whatever
about the Baroness's commission, that I guessed what it
might be and had heard about it privately from another
quarter, upon which, as I know this lady only too well, I
warned you to be a little bit on your guard. First of all, I
must tell you that Finck would not be at all suitable for
her, as she wants to have someone for herself and not for
her children.4 You see, therefore, that what is important
is that he should play with taste, feeling and brilliancy;
and that a knowledge of thorough bass and extemporising
in the style of the organ would be of no use to him what-

1 K. 413-415.

* Ignaz Finck, court trumpeter in Salzburg. Evidently he had offered to
take a letter to Mozart's father.

3 K. 416. Recitative "Mia speranza adorata"; rondo "Ah, non sai, qual
pena". Aloysia sang this aria too at Mozart's concert on March 23rd. See
p. 1257. 4 The Baroness had three sons.

1246

1783 MOZART TO HIS FATHER L. 479

ever. Further, I should like you to realise that the words
which I used, "herself — "for herself3 , imply a good deal.
She has often had someone of the kind in her house, but
the arrangement has never lasted very long. You may put
whatever construction you like on this. Suffice it to say
that the result of these scenes is that people speak very
lightly about her. She is weak; but I shall say no more —
and the little I have said is only for yourself; for I have
received a great many kindnesses from her and so it is
my duty to defend her so far as possible, or at least to say
nothing. Well, she is talking of going off in a few days to
Pressburg and of staying there. My opinion is that she
may do so — or that she may not. If I were in your place,
I should politely decline to have anything to do with the
whole business. Well, I must close or my aria will never
be finished. My opera was given again yesterday in a
crowded theatre and with the greatest applause. Do not
forget my symphonies.1 Adieu. My little wife who is
quite plump (but only about the belly) and I both kiss
your hands a thousand times and embrace our dear sister
with all our hearts and are ever your most obedient
children

W. et C. MOZART

(479) Mozart to his Father

[Autograph in the Mozarteum, Salzburg\

MON TRES CHER PERE! VlENNE, ce. 22 de Janvier, 1783
You need have no fear that the three concertos 2 are
too dear. I think after all that I deserve a ducat for each
concerto — and besides — I should like to know who could
get them copied for a ducat! They cannot be copied, as I
shall not let them out of my hands until I have secured a
certain number of subscribers. They have been advertised

1 Seep. 1244. * K. 413-415.

1247

L. 479 MOZART TO HIS FATHER 1783

three times in the Wiener Diarium\ I and subscription
tickets at four ducats each have been on sale since the
2Oth at my house, where the concertos can be obtained
during" the month of April.

I shall send the cadenzas and introductions2 to my dear
sister at the first opportunity. I have not yet altered the
introductions in the rondo,3 for whenever I play this con
certo, I always play whatever occurs to me at the moment.
Please send me the symphonies 4 I asked for as soon as
possible, for I really need them. And now, one more
request, for my wife is giving" me no peace on the subject.
You are doubtless aware that this is carnival time and
that there is as much dancing here as in Salzburgf and
Munich. Well, I should very much like to go as Harlequin
(but not a soul must know about it) — because here there
are so many — indeed nothing but — silly asses at the
Redoutes. So I should like you to send me your Harlequin
costume. But please do so very soon, for we shall not
attend the Redoutes until I have it, although they are
now in full swing. We prefer private balls. Last week I
gave a ball in my own rooms, but of course the chapeaux
each paid two gulden. We began at six o'clock in the
evening and kept on until seven. What! Only an hour?
Of course not. I meant, until seven o'clock next morning.
You will wonder how I had so much room? Why, that
reminds me that I have always forgotten to tell you that
for the last six weeks I have been living in a new lodging
— but still on the Hohe Briicke, and only a few houses off.
We are now in the small Herberstein house, No. 41 2, on the
third floor.5 The house belongs to Herr von Wetzlar — a
rich Jew. Well, I have a room there— 1000 feet long and

1 A Vienna daily paper.

2 The German expression "Eingange" really means "short ornamental
cadenzas". Seep. 1252, n. 2. 3 K. 382. Seep. 1189, n. 3. 4 See p. 1244.

5 Now Wipplingerstrasse no. 17. This was Mozart's fourth move since his
arrival in Vienna.

1248

1783 MOZART TO HIS FATHER L. 480

one foot wide T — and a bedroom, an anteroom and a fine
large kitchen. Then there are two other fine big rooms
adjoining ours, which are still empty and which I used for
this private ball. Baron Wetzlar and his wife were there,
Baroness Waldstadten, Herr von Edelbach, that gas
bag Gilowsky,2 Stephanie junior et uxor, Adamberger
and his wife, Lange and his, and so forth. It would be
impossible to name them all. Well, I must close, as I still
have a letter to write to Madame Wendling at Mannheim
about my concertos. Please remind that ever ready
operatic composer,3 Gatti, about the opera libretti.4 I do
wish I had them already. Well, adieu. We kiss your hands
a thousand times and embrace our dear sister with all our
hearts and are ever your most obedient children

W. et Co: MOZART

(480) Mozart to his Father

[Autograph in the Mozarteum, Salzburg\

MON TR&S CHER PERE! ViENNE, ce 5 defevrier, 1783

I have received your last letter and trust that in the
meantime you have also received my last one with my
request for the Harlequin costume. I now repeat it, beg
ging you at the same time to be so very kind as to dis
patch it with all possible speed. And please send the
symphonies,5 especially the last one? as soon as possible,
for my concert is to take place on the third Sunday in

1 A favourite joke of the Mozart family. See p. n.

2 Franz Wenzel Gilowsky de Urazowa (1757-1816), brother of Katherl
Gilowsky. He was now a young surgeon in Vienna and had been best man
at Mozart's wedding.

3 Dr. A. Einstein suggests an allusion to Johann P. Kirnberger's Der
allezeit fertige Polonaisen- und Menuettenkomponist, Berlin, 1757.

4 Abbate Luigi Gatti, a native of Mantua, had lived in Italy until 1783,
when he took up his appointment as Kapellmeister to the Salzburg court
orchestra. Mozart hoped that through him he might find a suitable Italian
text for an opera buffa. s See p. 1244. 6 K. 385.

VOL. Ill 1249 O

L. 480 MOZART TO HIS FATHER 1783

Lent, that is, on March 23rd, and I must have several
copies made. I think, therefore, that if it is not copied
already, it would be better to send me back the original
score just as I sent it to you; and remember to put in
the minuets.1

Is Ceccarelli no longer in Salzburg? Or was he not
given a part in Gatti's cantata? This I ask, as you do
not mention him among the squabblers and wranglers.

My opera was performed yesterday for the seventeenth
time with the usual applause and to a full house.

On Friday, the day after to-morrow, a new opera is to
be given, the music of which, a galimatias, is by a young
Viennese, a pupil of Wagenseil, who is called gallus
cantans, in arbore sedens, gigirigi faciens.2 It will prob
ably not be a success. Still, it is better stuff than its pre
decessor, an old opera by Gassmann, "La notte critica",
in German "Die unruhige Nacht' V which with difficulty
survived three performances. This in its turn had been
preceded by that execrable opera of Umlauf,4 about
which I wrote to you and which never got so far as a
third performance. It really seems as if they wished to
kill off before its time the German opera, which in any
case is to come to an end after Easter; and Germans
themselves are doing this — shame upon them!

I asked you in my last letter to keep on reminding
Gatti about the Italian opera libretti and I again repeat
my request. Let me now tell you of my plan. I do not
believe that the Italian opera will keep going for long,
and besides, I hold with the Germans. I prefer German

1 See p. 1207, n. 4.

2 Johann Mederitsch (1755-1835), called Gallus. His opera "Rose, oder
Pflicht und Liebe im Streit" was performed on February 9th, 1783. He is
better known as a successful composer of Viennese folk songs. See MM,
February 1919, p. 21 ff.

3 Gassmann's opera "La notte critica" was performed on January loth,
1783. 4 Umlauf s opera "Welche ist die beste Nation?". See p. 1241.

1250

1783 MOZART TO HIS FATHER Z. 480

opera, even though it means more trouble for me. Every
nation has its own opera and why not Germany? Is not
German as singable as French and English? Is it not more
so than Russian? Very well then! I am now writing a
German opera for myself. I have chosen Goldoni's comedy
"II servitore di due padroni", and the wholeof thefirst act
has now been translated. Baron Binder is the translator.
But we are keeping it a secret until it is quite finished.1
Well, what do you think of this scheme? Do you not think
that I shall make a good thing of it? Now I must close.
Fischer, the bass singer, is with me and has just asked
me to write about him to Le Gros in Paris, as he is going
off there in Lent. The Viennese are making the foolish
mistake of letting a man go who can never be replaced.
My wife and I kiss your hands a thousand times and
embrace our dear sister with all our hearts and are ever
your most obedient children

W: et C: MOZART
Gaetano Majorano (Caffarelli)
Amphion Thebas
Ego Domum.2

1 This plan was never carried out. Saint-Foix, vol. iii. p. 389, n., suggests
that the arias K. 433, 435, composed for bass and tenor respectively, have
some connection with this project. See also Kochel, pp. 515, 517.

2 These words are written on the cover of the letter.

Gaetano Majorano (1703-1783), a famous castrato, who took the name
of Caffarelli from his friend and patron, Pasquale Caffaro, the Neapolitan
composer, studied under Porpora and in 1724 made his first appearance in
Rome. In 1 738 he sang in London and then returned to Italy. When he was
65 he had amassed an immense fortune and built a palace near Naples, over
the door of which was the inscription 'Amphion Thebas, ego domum', refer
ring to the classical legend of Amphion, who is said to have built the walls
of Thebes by the magic strains of his lute.

Caffarelli is not mentioned previously in the letters, but his name appears
in Leopold Mozart's Reiseaufzeichnungen, p. 53, in the handwriting of
Mozart himself, who adds the remark: "Musico ricchissimo, va nelle chiese
per chiappare qualche denaro" (a very rich castrato, who goes and sings in
churches in order to scrape up a few coins).

Caffarelli died on February 1st, 1783.

1251

L. 481 MOZART TO HIS FATHER x?83

(481) Mozart to his Father

\Autograph in the Mozarteum, Salzburg]

MON TR£S CHER PERE! VIENNE, ce 15 defevrier, 1783
Most heartfelt thanks for the music you have sent
me. I am extremely sorry that I shall not be able to use
the music of "Thames",1 but this piece, which failed to
please here, is now among the rejected works which are no
longer performed. For the sake of the music alone it might
possibly be given again, but that is not likely. Certainly
it is a pity! Herewith I send my sister the three cadenzas
for the concerto in D and the two short cadenzas for
the one in E^.* Please send me at once the little book
which contains the oboe concerto3 I wrote for Ramm,
or rather for Ferlendis. Prince Esterhazy's oboist is
giving me three ducats for it and has offered me six, if I
will compose a new concerto for him.4 But if you have
already gone to Munich, well, then, by Heaven, there is
nothing to be done; for the only person to whom in that
case we could apply, I mean, Ramm himself, is not there
either. I should like to have sat in a corner at Strassburg
— but indeed not — for I don't think I should have spent
a peaceful night.5 My new Haffner symphony6 has
positively amazed me, for I had forgotten every single
note of it. It must surely produce a good effect. I think
that during the last carnival days we shall collect a com
pany of masqueraders and perform a small pantomime.

1 K. 345. Mozart's incidental music to Baron von Gebler's drama "Thamos,
Konig von Agypten", composed during the years 1773-1779. See Kochel,
p. 418 f.

2 Cadenzas for K. 175, composed in 1773, and short cadenzas for K. 271,
composed in 1777. These are to be found under K. 624.

3 Probably K. 314. Cp. p. 466, n. i.

4 Possibly K. 293, a fragment, 61 bars, of an oboe concerto.

5 Mozart may be referring to a performance at Strassburg of his "Entfiihrung
aus dem Serail". 6 K, 385.

1252

1783 MOZART TO BARONESS VON WALDSTADTEN Z. 482

But please do not betray us. I have at last been fortunate
enough to meet the Chevalier Hy polity, who had never
been able to find me. He is a charming person. He has
been to see me once and he is to come again soon and
bring an aria so that I may hear him. I must close, as I
am off to the theatre. My little wife and I kiss your
hands a thousand times and embrace our dear sister with
all our hearts and are ever your most obedient children

W: A: MOZART

(482) Mozart to Baroness von Waldstadten

[Autograph sold by Artaria and Co., Vienna^ March und, 1934, No. 636]

VIENNA, February \^th, 1783
MOST HIGHLY ESTEEMED BARONESS!

Here I am in a fine dilemma! Herr von Tranner and
I discussed the matter the other day and agreed to ask
for an extension of a fortnight. As every merchant does
this, unless he is the most disobliging man in the world,
my mind was quite at ease and I hoped that by that time, if
I were not in the position to pay the sum myself, I should
be able to borrow it. Well, Herr von Tranner now in
forms me that the person in question absolutely refuses
to wait and that if I do not pay the sum before to-morrow,
he will bring an action against me. Only think, your
Ladyship, what an unpleasant business this would be for
me! At the moment I cannot pay — not even half the sum!
If I could have foreseen that the subscriptions for my
concertos x would come in so slowly, I should have raised
the money on a longer time-limit. I entreat your Lady
ship for Heaven's sake to help me to keep my honour
and my good name!

My poor little wife is slightly indisposed, so I cannot

1 K. 413-415.
1253

L. 483 MOZART TO HIS FATHER 1783

leave her; otherwise I should have come to you myself to
ask in person for your Ladyship's assistance. We kiss
your Ladyship's hands a thousand times and are both
your Ladyship's most obedient children

W. A. and C. MOZART

At home, February i5th, 1783.

(483) Mozart to his Father

[Autograph in the Mozarteum, Salzburg]

MON TRES CHER PERE! VIENNE, ce 12 de Mars, 1783

I hope that you have not been uneasy but have
guessed the cause of my silence, which was that, as I did
not know for certain how long you would stay in Munich,1
I delayed writing until now, when I am almost sure that
my letter will find you in Salzburg. My sister-in-law,
Madame Lange, gave her concert yesterday in the
theatre and I played a concerto.2 The theatre was very
full and I was received again by the Viennese public so
cordially that I really ought to feel delighted. I had
already left the platform, but the audience would not
stop clapping and so I had to repeat the rondo; upon
which there was a regular torrent of applause. It is a good
advertisement for my concert which I am giving on
Sunday, March 23rd. I added my symphony which I
composed for the Concert Spirituel.3 My sister-in-law sang
the aria "Non so d'onde viene".4 Gluck had a box beside
the Langes, in which my wife was sitting. He was loud in
his praises of the symphony and the aria and invited us

1 Leopold Mozart had been to Munich on one of his frequent visits to the
family of Theobald Marchand.
a Probably K. 175 with the rondo K. 382. See p. 1189, n. 3.

3 K. 297, composed in 1778.

4 K. 294, written in 1778.

1783 MOZART TO HIS FATHER L. 483

all four to lunch with him next Sunday. It is possible that
the German opera may be continued, but no one knows
what will happen. One thing is certain, and that is, that
Fischer is off to Paris in a week. I entreat you most
earnestly to send me the oboe concerto l I gave to Ramm
— and as soon as possible. When doing so, you might put
in something else, for example, the original scores of my
masses 2 and of my two vesper compositions.3 This is
solely with a view to Baron van Swieten hearing them.
He sings treble, I sing alto (and play at the same time),
Starzer sings tenor and young Teiber4 from Italy sings
bass. Send me in the meantime the "Tres sunt" by
Haydn, which will do until you can let me have some
thing else of his. Indeed I should very much like them
to hear the "Lauda Sion". The full score of the "Tres
sunt" copied out in my own handwriting must be some
where at home.5 The fugue "In te Domine speravi" has
won great applause and so have the "Ave Maria" and
the "Tenebrae" and so forth. I beg you to enliven our
Sunday music practices 6 with something soon.

On Carnival Monday our company of masqueraders
went to the Redoute, where we performed a pantomime
which exactly filled the half hour when there is a pause in
the dancing. My sister-in-law was Columbine, I Harle
quin, my brother-in-law Pierrot, an old dancing master
(Merk) Pantaloon, and a painter (Grassi) the doctor. Both
the plot and the music of the pantomime were mine.7

1 See p. 1252, n. 3.

2 Probably K. 275, 317 and 337.

3 K. 321, composed in 1779, and K. 339, composed in 1780.

4 Anton Teiber (1754-1822), a brother of the famous singers, Elizabeth
and Therese Teiber.

5 See p. 469, n. i. Haydn's "Tres simt" and "Lauda Sion" appear to
have been lost.

6 At the house of Baron van Swieten.

7 K. 446, The autograph, a fragment, has only the first violin part for a
string quartet. See Kochel, p. 518 f.

I2S5

L. 484 MOZART TO HIS FATHER 1783

Merk, the dancing master, was so kind as to coach us,
and I must say that we played it charmingly. I am
enclosing the programme which was distributed to the
company by a mask, dressed as a postillion. The verses,
although only doggerel, might have been done better. I
had nothing to do with them. Miiller,1 the actor, dashed
them off. Well, I must close, for I am going to a concert
at Count Esterhazy's. Meanwhile farewell. Please do not
forget about the music. My wife and I kiss your hands a
thousand times and embrace our dear sister with all our
hearts and I am ever your most obedient son

W: A: et C: MOZART

(484) Mozart to his Father

[Autograph in the Mozarteum, Salzburg]

MON TRfis CHER PERE! VlENNE, ce 29 de mars, 1783

I need not tell you very much about the success of
my concert,2 for no doubt you have already heard of it.
Suffice it to say that the theatre could not have been
more crowded and that every box was full. But what
pleased me most of all was that His Majesty the Emperor
was present and, goodness! — how delighted he was and
how he applauded me! It is his custom to send the money
to the box-office before going to the theatre; otherwise I
should have been fully justified in counting on a larger
sum, for really his delight was beyond all bounds. He
sent twenty-five ducats. Our programme was as follows:

(1) The new Haffner symphony.3

(2) Madame Lange sang the aria "Se il padre perdei"

1 Possibly Johann Heinrich Friedrich Miiller (1734-1815), an actor at
the National Theatre in Vienna, who was particularly successful in comic
parts. See Dr. R. Payer von Thurn, Joseph II als Theaterdirektor ; Vienna,
1920, passim. 2 On March 23rd. 3 K. 385.

1256

1783 MOZART TO HIS FATHER L. 484

from my Munich opera, accompanied by four
instruments.1

(3) I played the third of my subscription concertos.2

(4) Adamberger sang the scena which I composed for
Countess Baumgarten.3

(5) The short concertante symphonic from my last
Finalmusik.4

(6) I played my concerto in D major, which is such a
favourite here, and of which I sent you the rondo
with variations.5

(7) Mile Teiber sang the scena "Parto, m'affretto"
out of my last Milan opera.6

(8) I played alone a short fugue (because the Emperor
was present) and then variations on an air from an
opera called "Die Philosophen", which were en
cored. So I played variations on the air "Unser
dummer Pobel meint" from Gluck's "Pilgrimme
von Mekka".7

(9) Madame Lange sang my new rondo.8
(10) The last movement of the first symphony.9
Mile Teiber I0 is giving a concert to-morrow, at which

I am going to play. Von Daubrawaick and Gilowsky are
off to Salzburg next Thursday and will bring you my
Munich opera,11 the two copies of my sonatas,12 some
variations for my sister and also the money which I owe
you for having my opera13 copied. I have received the

1 Ilia's aria in Act II of "Idomeneo", with flute, oboe, bassoon and horn
obbligatos. It was written originally for Dorothea Wendling.

2 K. 415. 3 K. 369. 4 K. 320, composed in 1779.

5 K. 175, for which Mozart wrote the rondo K. 382.

6 Aria no. 16 in "Lucio Silla", composed in 1772.

7 The first set of variations are K. 398, six variations on "Salve tu, Domine"
from Paisiello's opera "Socrate immaginario", which was performed in
Vienna in 1781 as "Der eingebildete Philosoph". The second set are K. 455,
ten variations on "Unser dummer Pobel meint". 8 K. 416.

9 The "Haffner" symphony, K. 385. I0 Probably Therese Teiber.

11 "Idomeneo." l2 K. 296 and 376-380.

13 "Die Entfuhrung aus dem Sereil."

1257

Z. 485 MOZART TO HIS FATHER 1783

parcel of music and thank you for it. Please do not forget
about the "Lauda Sion";1 and what we should like to
have as well, my dearest father, is some of your best
church music, for we like to amuse ourselves with all
kinds of masters, ancient and modern. So I beg you to
send us very soon some of your own compositions. Well,
I must close. My wife and I kiss your hands a thousand
times and embrace our dear sister with all our hearts and
are ever your most obedient children

W. A. MOZART

(485) Mozart to his Father

\Autograph in the Mozarteum, Salzburg\

MON TRES CHER PERE! VlENNE, ce 3 cTavril, 1783

I send you herewith my Munich opera 2 and the two
copies of my sonatas! 3 The variations4 I promised will be
sent to you by the first opportunity, for the copyist could
not finish them in time. The two portraits5 will follow
too. I only hope that you will be pleased with them. I
think they are both good likenesses and all who have seen
them are of the same opinion. Well, I am afraid you have
read a lie at the beginning of my letter — I mean, about
the two copies of my sonatas. But it is not my fault. When
I went to buy them, I was told that there was not a single
copy left, but that I could have them to-morrow or the
day after. It is too late to get them off now, so I shall send
them along with the variations. I enclose the sum I owe

1 Michael Haydn's composition. See p. 1255. * "Idomeneo."

3 K. 296 and 376-380. 4 K. 359, 360, 352.

5 Probably the oil paintings of Mozart and his wife, which were done by
his brother-in-law Josef Lange. Mozart's portrait is unfinished. It is at present
in the Mozart Museum, Salzburg. Constanze's portrait is in the Hunterian
Museum, University of Glasgow. For a discussion of the latter see Farmer and
Smith, New Mozartiana, 1935, pp. 29-52. See illustrations nos. 26 and 29.

1258

1783 MOZART TO HIS FATHER L. 486

for the copying of my opera and I only hope that the
balance may be of some use to you. I cannot spare any
more at present, as I foresee many expenses in connection
with my wife's confinement, which will probably take
place towards the end of May or the beginning of June.
Well, I must close, as Von Daubrawaick is leaving very
early in the morning and I must send him the letter. My
wife and I kiss your hands a thousand times and embrace
our dear sister with all our hearts and are ever your most
obedient children

W: A: et C: MOZART

(486) Mozart to his Father

{Autograph in the Mozarteum, Salzburg]

MON TRES CHER PERE! VlENNE, ce 12 tfavril, 1783

I received this morning your last letter of the 8th
and see from it that you have got everything which I
entrusted to Daubrawaick. I am sorry to say that the
mail coach does not leave until this day week, so I can
not send you the two copies of my sonatas J until then.
But you shall also have the voice part with variations of
the aria "Non so d'onde viene".2 The next time you send
me a parcel, please let the rondo for an alto voice which
I composed for the castrato who was with the Italian
company in Salzburg 3 and the one which I composed
for Ceccarelli in Vienna 4 take the same trip. When the
weather gets warmer, please make a search in the attic
under the roof and send us some of your own church
music. You have no reason whatever to be ashamed of
it. Baron van Swieten and Starzer know as well as you

1 K. 296 and 376-380. 2 K. 294.

3 K. 255, a recitative and aria, "Ombra felice", composed in 1776 for
Francesco Fortini, a member of a company under Pietro Rosa, who were
performing comic operas at Salzburg and Innsbruck. 4 K. 374.

1259

L. 486 MOZART TO HIS FATHER 1783

and I that musical taste is continually changing — and,
what is more, that this extends even to church music,
which ought not to be the case. Hence it is that true
church music is to be found only in attics and in a worm-
eaten condition. When I come to Salzburg with my wife
in July, as I hope to do, we shall discuss this point at
greater length. When Daubrawaick went off, I really
could scarcely hold back my wife, who insisted absolu-
ment on our following him to Salzburg. She thought that
we might even get there first. And had it not been for the
very short time we could have stayed — what am I saying
— why, she might have had to be confined in Salzburg —
which made this plan impossible, our most ardent wish to
embrace you, most beloved father, and my dearest sister
would by this time have been fulfilled; for, as far as my
wife is concerned, I should have had no fears about this
short journey. She is in such excellent health and has be
come so robust that all women should thank God if they
are so fortunate in their pregnancy. As soon as my wife
has sufficiently recovered from her confinement, we shall
certainly go off to Salzburg at once. You will have seen
from my last letter that I was to play at another concert,
that is, at Mile Teiber's. The Emperor was there too. I
played my first concerto which I played at my concert.1
I was asked to repeat the rondo. So I sat down again;
but instead of repeating it I had the conductor's stand
removed and played alone. You should have heard how
delighted the public were with this little surprise. They
not only clapped but shouted "bravo" and "bravissimo".
The Emperor too stayed to hear me to the end and as
soon as I left the piano he left his box; evidently he had
only remained to listen to me. Please send me, if possible,
the reports about my concert. I rejoice with my whole
heart that the small sum which I was able to send has

1 K. 175 with the rondo, K. 382. See p. 1252.
1260

1783 MOZART TO J. G. SIEBER Z. 487

been so useful to you. I have a great deal more to write
about, but I am afraid that the post may ride off without
this letter, as it is a quarter to eight. So goodbye for the
present. My dear little wife and I kiss your hands a
thousand times and embrace our dear sister with all our
hearts and are ever your most obedient children

W: et C: MOZART

Our compliments to the whole of Salzburg. Adieu.

(487) Mozart to J. G. Sieber, Paris

[From the "Bulletin de la Societl franfaise de musicologie" , July 1921]

MONSIEUR! VIENNA, April 26th, 1783

I have now been in Vienna for two years. You have
probably heard about my pianoforte sonatas with accom
paniment for one violin T which I have had engraved here
by Artaria and Co. I am not very well pleased, however,
with the way in which works are engraved in Vienna and,
even if I were, I should like some of my compositions
once more to find their way into the hands of my fellow-
countrymen in Paris. Well, this letter is to inform you
that I have three piano concertos2 ready, which can be
performed with full orchestra, or with oboes and horns,
or merely a quattro. Artaria wants to engrave them. But
I give you, my friend, the first refusal. And in order to
avoid delay, I shall quote my lowest terms to you. If you
give me thirty louis d'or for them, the matter is settled.
Since I wrote those piano concertos, I have been com
posing six quartets for two violins, viola and cello.3 If you

1 K. 296 and 376-380, published by Artaria and Co. in November 1781.

2 K. 413-415. They were published by Artaria and Co. in March 1785.

3 K. 387, 421, 458, 428, 464, 465, the six quartets which Mozart dedicated
in September 1785 to Joseph Haydn. K. 387 was composed in 1782, K. 421
and 428 in 1783. They were published by Artaria and Co. in October 1785.

I26l

Z. 488 MOZART TO HIS FATHER

would like to engrave these too, I will gladly let you have
them. But I cannot allow these to go so cheaply, I mean
that I cannot let you have these six quartets under fifty
louis d'or. If you can and will make a deal with me on
these conditions, I shall send you an address in Paris
where you will be handed my compositions in exchange
for the sums I have quoted. Meanwhile, I remain your
most obedient servant

WOLFGANG AMAD£ MOZART

(488) Mozart to his Father

[Autograph in the Bibliotheque de Nantes}

VlENNE, in the Prater, ce 3 de may, 1 783
MON TRES CHER P£RE!

I simply cannot make up my mind to drive back into
town so early. The weather is far too lovely and it is far
too delightful in the Prater to-day. We have taken our
lunch out of doors and shall stay on until eight or nine in
the evening. My whole company consists of my little wife
who is pregnant, and hers consists of her little husband,
who is not pregnant, but fat and flourishing. I went
straight to Herr Peisser, got from him the address of the
banker Scheffler and then went off to the said banker.
But he knew nothing whatever about a merchant's son
called Rosa, who might have an introduction to him. For
safety's sake I left my address with him. I shall now wait
and see what happens. I must ask you to wait patiently
for a longer letter and the aria with variations T — for, of
course, I cannot finish them in the Prater; and for the
sake of my dear little wife I cannot miss this fine weather.
Exercise is good for her. So to-day I am only sending you
a short letter to say that, thank God, we are both well and

1 K. 294.
1262

1783 MOZART TO HIS FATHER L. 489

have received your last letter. Now farewell. We kiss your
hands a thousand times and embrace our dear sister with
all our hearts and are ever your obedient children

W. A. and C. MOZART

(489) Mozart to his Father

[Autograph in the Mozarteum, Salzburg]
MON TRES CHER PERE! VIENNA, May Jib, 1783

Another short letter! I intended to postpone writing
until next Saturday, as I have to go to a concert to-day;
but as I have something to say which is of considerable
importance to myself, I must steal time in order to write
at least a few lines. I have not yet received the music I
wanted, nor do I know what has happened. Well, the
Italian opera bufifa has started again here and is very-
popular. The buffo is particularly good — his name is
Benucci.1 I have looked through at least a hundred
libretti and more, but I have hardly found a single one
with which I am satisfied; that is to say, so many alterations
would have to be made here and there, that even if a poet
would undertake to make them, it would be easier for
him to write a completely new text — which indeed it is
always best to do. Our poet here is now a certain Abbate
Da Ponte.2 He has an enormous amount to do in

1 Francesco Benucci, a basso buffo, who was the original Figaro in Mozart's
opera, which had its first performance on May ist, 1786. Benucci first sang
in Venice, 1778-1779, and after the re-establishment of Italian opera by the
Emperor Joseph II, was summoned to Vienna in 1781. In 1788 he sang in
London, but with little success.

2 Lorenzo Da Ponte (1749-1838), the famous librettist of Mozart's
"Figaro", "Don Giovanni", "Cosi fan tutte", and probably of his unfinished
"Lo sposo deluso". After an adventurous youth Da Ponte was appointed poet
to the Imperial Theatre in Vienna, but left in 1 79 1 on the death of Joseph II. He
then lived for a time in London, where he tried to sell Italian books. Owing to
money difficulties he was forced to leave England, and fled in 1805 to New
York where he settled for the rest of his life, and where he wrote his well-known

1263

Z. 489 MOZART TO HIS FATHER i783

revising pieces for the theatre and he has to write per
obbligo an entirely new libretto for Salieri,1 which will
take him two months. He has promised after that to write
a new libretto for me. But who knows whether he will be
able to keep his word — or will want to? For, as you are
aware, these Italian gentlemen are very civil to your face.
Enough, we know them! If he is in league with Salieri,
I shall never get anything out of him. But indeed I
should dearly love to show what I can do in an Italian
opera! So I have been thinking that unless Varesco is
still very much annoyed with us about the Munich opera,2
he might write me a new libretto for seven characters.
Basta! You will know best if this can be arranged. In the
meantime he could jot down a few ideas, and when I come
to Salzburg we could then work them out together. The
most essential thing is that on the whole the story should
be really comic, and, if possible, he ought to introduce two
equally good female parts, one of these to be seria, the other
mezzo carattere, but both parts equal in importance and
excellence. The third female character, however, may be
entirely buffa, and so may all the male ones, if necessary.
If you think that something can be got out of Varesco,
please discuss it with him soon. But you must not tell him
that I am coming to Salzburg in July, or he will do no
work; for I should very much like to have some of it
while I am still in Vienna. Tell him too that his share will
certainly amount to 400 or 500 gulden, for the custom here
is that the poet gets the takings of the third performance.
Well, I must close, for I am not yet fully dressed. Mean
while, farewell. My wife and I kiss your hands a thousand

memoirs which began to appear in 1823. For the best accounts of Da Ponte's
life see E. J. Dent, Mozarfs Operas (London, 1913), p. 146 ff, J. L. Russo,
Lorenzo Da Ponte (New York, 1922), and the introduction to L. A. Sheppard's
Memoirs of Lorenzo Da Ponte (London, 1929).

1 Salieri's "II ricco d'un giorno", performed on December 6th, 1784.

* "Idomeneo", for which Abbate Varesco had written the libretto.

1264

GOTTFRIED VAN SWIETEN

From an engraving by J. Axmann after a portrait by P. Fendi
(Gesellschaft der Musikfreunde, Vienna)

1783 MOZART TO HIS FATHER

times and embrace our dear sister with all our hearts and
are ever your most obedient children

W. A. MOZART
Vienna, May 7th, 1783.

(490) Mozart to his Father

[Autograph in the Mozarteum, Salzburg}

MON TR£S CHER PERE! VIENNE, ce 21 de may, 1783

I made enquiries the other day from the banker
Scheffler about a person of the name of Rosa as well as
Rossi. Meanwhile he himself has been to see me, so that
at last I have received the music. I have also received
Ceccarelli's rondo x from Gilowsky, for which I thank you*
I am now sending you the voice part with variations of
"Non so d'onde viene" 2 and only hope that you may be
able to read it. I am heartily sorry to hear about poor dear
Frau von Robinig.3 My wife and I almost lost an honest
friend, Baron Raimund Wetzlar, in whose house we used
to live. That reminds me, we have been living in another
house for some time and have not yet told you. Baron
Wetzlar has taken a lady into his home; so, to oblige him,
we moved before the time to a wretched lodging in the
Kohlmarkt,4 in return for which he refused to take any
rent for the three months we had lived in his house,
and also paid the expenses of our removal. Meanwhile we
looked round for decent quarters and at last found them
in the Judenplatz, where we are now living. Wetzlar paid
for us too when we were in the Kohlmarkt. Our new
address is: "Auf dem Judenplatz, im Burgischen Hause,

1 K. 374.

2 K. 294. See p. 861, n. 2. No doubt Leopold Mozart was proposing to
teach these coloratura passages to his pupil, Margarete Marchand.

3 Frau von Robinig died on April 24th, 1783.

4 Nothing is known about these quarters, where the Mozarts spent three
months. *

VOL. Ill 1265 p

Z. 491 MOZART TO HIS FATHER 1783

No. 244. First floor".1 Now our sole desire is to have the
happiness of embracing you both soon. But do you think
that this will be in (Salzburg?) I (hardly) think so, unfortu
nately! An idea has been worrying me for a long time,
but as it never seemed to occur to you, my dearest father,
I banished it from my mind. Herr von Edelbach and
Baron Wetzlar, however, have confirmed <my suspicion,
which is that when I come to Salzburg, the Archbishop
may have me arrested) or at least — Basta! — What chiefly
makes me (dread) this, is the fact that I have not yet
received my formal (dismissal.) Perhaps he has (purposely
held it back, in order to catch me later,) Well, you are the
best judge; and, if your opinion is to the contrary, then
(we shall certainly come;) but if you agree with me, then
we must choose a third (place) for our meeting — perhaps
(Munich. For a priest) is capable of anything. A propos,
have you heard about the famous quarrel between the
(Archbishop and Count Daun) and that (the Archbishop
received an infamous letter from the chapter of Passau?)
Please keep on reminding Varesco about the matter you
know of. The chief thing must be the comic element, for
I know the taste of the Viennese. Meanwhile farewell.
My wife and I kiss your hands a thousand times and
embrace our dear sister with all our hearts and are ever
your most obedient children

W. et C. MOZART

(491) Mozart to his Father

[Autograph in the Preussische Staatsbibliothek, Berlin]

MON TR£S CHER PERE! VIENNE, ce 7 Juin, 1783

Praise and thanks be to God, I am quite well again!

But my illness has left me a cold as a remembrance, which

1 Now no. 3. The Mozarts' first child was born here.
1266

1783 MOZART TO HIS FATHER L.

was very charming of it! I have received my dear sister's
letter. My wife's name-day is neither in March nor in
May, but on February i6th; and is not to be found in any
calendar. She thanks you both, however, most cordially
for your kind good wishes, which are always acceptable,
even though it is not her name-day. She wanted to write
to my sister herself, but in her present condition she must
be excused if she is a little bit commode — or, as we say,
indolent. According to the midwife's examination she
ought to have had her confinement on the 4th, but I do
not think that the event will take place before the I5th or
1 6th. She is longing for it to happen as soon as possible,
particularly that she may have the happiness of embracing
you and my dear sister in Salzburg. As I did not think
that this would happen so soon, I kept on postponing
going down on my knees, folding my hands and entreating
you most submissively, my dearest father, to be godfather!
As there is still time, I am doing so now. Meanwhile, (in
the confident hope that you will not refuse) I have already
arranged (I mean, since the midwife took stock of the
visum repertum) that someone shall present the child in
your name, whether it is generis masculini or feminini!
So we are going to call it Leopold or Leopoldine.

Well, I have a few words to say to my sister about
dementi's sonatas. Everyone who either hears them or
plays them must feel that as compositions they are worth-
less.They contain no remarkable or striking passages except
those in sixths and octaves. And I implore my sister not to
practise these passages too much, so that she may not spoil
her quiet, even touch and that her hand may not lose its
natural lightness, flexibility and smooth rapidity. For after
all what is to be gained by it? Supposing that you do play
sixths and octaves with the utmost velocity (which no one
can accomplish, not even dementi) you only produce
an atrocious chopping effect and nothing else whatever.

1267

L. 491 MOZART TO HIS FATHER 1783

Clement! is a ciarlatano, like all Italians. He writes
Presto over a sonata or even Prestissimo and Alia breve,
and plays it himself A llegro in f time. I know this is the
case, for I have heard him do so. What he really does well
are his passages in thirds; but he sweated over them
day and night in London. Apart from this, he can do
nothing, absolutely nothing, for he has not the slightest
expression or taste, still less, feeling.

Now for Herr von Amann. Herr von Fichtl told me that
Court Councillor Amann has been locked up, as he is
supposed to be quite mad. I was not at all surprised to
hear this, for he always went about with a morose
expression. I always used to say that study was not the
cause of it; upon which Herr von Fichtl used to laugh
heartily. But I am very sorry for Basilius Amann. And
indeed I should never have thought it of him. I would
sooner have thought that he would become saner. Well,
perhaps he will take me into his service when I come to
Salzburg? I shall certainly go and see him. If you can get
hold of some German song which he has written, be so
kind as to send it to me, so that I may have something to
make me laugh. I shall set it to music. No, no! I know a
fool here who will do the job.

Have you heard anything yet from Varesco? Please do
not forget what I asked you. When I am in Salzburg we
should have such an admirable opportunity of working
together, if in the meantime we had thought out a plan.

Now farewell. My wife and I kiss your hands a thousand
times and embrace our dear sister with all our hearts and
are ever your most obedient children

W: et C: MOZART

P.S. — I trust that you received the voice part with
variations of the aria "Non so d'onde viene"? *

1 K. 294.
1268

1783 MOZART TO HIS FATHER £.492

(492) Mozart to his Father

[Autograph in the possession of Geheimrat Henri Hinrichsen, Leipzig]
MON TRES CHER PERE! VlENNE, ce 1 8 de Juin, 1783

Congratulations, you are a grandpapa! Yesterday,
the 1 7th, at half past six in the morning my dear wife was
safely delivered of a fine sturdy boy,1 as round as a ball.
Her pains began at half past one in the morning, so that
night we both lost our rest and sleep. At four o'clock I
sent for my mother-in-law — and then for the midwife. At
six o'clock the child began to appear and at half past six
the trouble was all over. My mother-in-law by her great
kindness to her daughter has made full amends for all the
harm she did her before her marriage. She spends the
whole day with her.

My dear wife, who kisses your hands and embraces my
dear sister most affectionately, is as well as she can be in
the circumstances. I trust with God's help that, as she is
taking good care of herself, she will make a complete
recovery from her confinement. From the condition of her
breasts I am rather afraid of milk-fever. And now the
child has been given to a foster-nurse against my will,
or rather, at my wish! For I was quite determined that
whether she should be able to do so or not, my wife was
never to feed her child. Yet I was equally determined
that my child was never to take the milk of a stranger! I
wanted the child to be brought up on water, like my sister
and myself. However, the midwife, my mother-in-law and
most people here have begged and implored me not to
allow it, if only for the reason that most children here who
are brought up on water do not survive, as the people

1 Raimund Leopold, who died on August I9th during his parents* visit
to Salzburg, For a full account of Mozart's six children see Blumml,
pp. 1-9.

1269

L. 4gs MOZART TO HIS FATHER i783

here don't know how to do it properly. That induced me
to give in, for I should not like to have anything to
reproach myself with.

Now for the godfather question. Let me tell you what
has happened. After my wife's safe delivery I immediately
sent a message to Baron Wetzlar, who is a good and true
friend of mine. He came to see us at once and offered to
stand godfather. I could not refuse him and thought to
myself: "After all, my boy can still be called Leopold".
But while I was turning this round in my mind, the
Baron said very cheerfully: "Ah, now you have a little
Raimund" — and kissed the child. What was I to do?
Well, I have had the child christened Raimund Leopold.
I must frankly confess that if you had not sent me in a
letter your opinion on the matter, I should have been very
much embarrassed, and I am not at all sure that I should
not have refused his offer! But your letter has comforted
me with the assurance that you will not disapprove of my
action! After all, Leopold is one of his names. Well, I
must close. My newly confined wife and I kiss your hands
a thousand times and embrace our dear sister a thousand
times and are ever your most obedient children

W. and C. MOZART

(493) Mozart to his Father

[Autograph in the Library of Congress, Washington}

MON TRES CHER PERE! VIENNE, ce 21 de Juin, 1783

This will have to be a very short letter. I must only
tell you what is absolutely necessary, as I have far too
much to do. For a new Italian opera is being produced,1
in which for the first time two German singers are

1 Anfossi's "II curioso indiscrete". It was performed on June 3Oth, 1783.

1270

MOZART TO HIS FATHER L. 493

appearing, Madame Lange, my sister-in-law, and Adam-
berger, and I have to compose two arias for her l and a
rondo for him.2 I hope you received my last letter of
rejoicing. Thank God, my wife has now survived the two
critical days, yesterday and the day before, and in the
circumstances is very welL We now hope that all will go
well. The child too is quite strong and healthy and has a
tremendous number of things to do, I mean, drinking,
sleeping, yelling, pissing, shitting, dribbling and so forth.
He kisses the hands of his grandpapa and of his aunt.
Now for Varesco. I like his plan quite well.3 But I must
speak to Count Rosenberg at once, so as to make sure
that the poet will get his reward. Why, I consider it a
great insult to myself that Herr Varesco is doubtful about
the success of the opera. Of one thing he may be sure and
that is, that his libretto will certainly not go down if the
music is no good. For in the opera the chief thing is the
music. If then the opera is to be a success and Varesco
hopes to be rewarded, he must alter and recast the libretto
as much and as often as I wish and he must not follow his
own inclinations, as he has not the slightest knowledge or
experience of the theatre. You may even give him to
understand that it doesn't much matter whether he writes
the opera or not. I know the story now; and therefore
anyone can write it as well as he can. Besides, I am
expecting to-day four of the latest and best libretti from
[PFenice], 4 among which there will surely be one which
will be some good. So there is plenty of time. Well, I must
close. My newly confined wife and I kiss your hands, most

1 K. 418, "Vorrei spiegarvi, oh Dio" and K. 419, "No, no, che non sei
capace".

* K. 420, "Per pieta, non ricercate".

3 Varesco's plan for the opera "L'oca del Cairo".

4 If the reading "Fenice" is correct, possibly the Teatro La Fenice in
Venice. This theatre and the Teatro San Benedetto (now Teatro Rossini)
were the two leading opera houses in Venice.

1271

L. 494 MOZART TO HIS FATHER 1783

beloved father, and embrace our dear sister with all our
hearts and are ever your most obedient children

W. et C. MOZART

Herr von Gilowsky sends his greetings to both of you
and thanks to his father and to others for never writing to
him — although they must know that he is laid up with a
fever.

(494) Mozart to his Father

[Autograph in the Stadtarchiv, Pressburg]
MON TRES CHER PERE! VlENNE, ce 2 de juillet, 1783

My head was so full last post-day that I completely
forgot to write. Madame Lange was at our house to try
over her two arias and we were discussing how we could
be cleverer than our enemies — for I have plenty of them
— and Madame Lange too has enough to do with this new
singer, Mile Storace.1 Only when I was alone did I
remember that it was post-day and then of course it was
too late. Anfossi's opera "II curioso indiscrete", in which
Madame Lange and Adamberger appeared for the first
time, was performed the day before yesterday, Monday,
for the first time. It failed completely with the exception
of my two arias,2 the second of which, a bravura, had to
be repeated. Well, I should like you to know that my
friends were malicious enough to spread the report be
forehand that "Mozart wanted to improve on Anfossi's
opera". I heard of this and sent a message to Count

1 Anna (Nancy) Storace (1766-1817), a famous English soprano. She was
born in London, her mother being English and her father Italian. She studied
under Rauzzini in Italy, where she made her first appearance in Venice in
1780. She came to Vienna in 1783, and was the original Susanna in Mozart's
"Figaro". In March 1787 she returned to England and continued to sing in
public until 1808. When in Vienna she married the English violinist John
Abraham Fisher (1744-1806). * K. 418 and 419.

1272

1783 MOZART TO HIS FATHER £.494

Rosenberg that I would not hand over my arias unless
the following statement were printed in the copies of the
libretto, both in German and in Italian.

Avvertimento

Le due arie a carta 36 e a carta 102 sono state
messe in musica dal Signor Maestro Mozart, per
compiacere alia Signora Lange, non essendo
quelle state scritte dal Signor Maestro Anfossi
secondo la di lei abilita, ma per altro soggetto.
Questo si vuole far noto perche ne vada Ponore a
chi conviene, senza che rimanga in alcuna parte
pregiudicata la riputazione e la fama del piu
molto cognito Napolitano.1

Well, the statement was inserted and I handed out my
arias, which did inexpressible honour both to my sister-in-
law and to myself. So my enemies were quite confounded!
And now for a trick of Salieri's, which has injured poor
Adamberger more than me. I think I told you that I had
composed a rondo for Adamberger.2 During a short
rehearsal, before the rondo had been copied, Salieri took
Adamberger aside and told him that Count Rosenberg
would not be pleased if he put in an aria and that he
advised him as his good friend not to do so. Adamberger,
provoked by Rosenberg's objection and not knowing how
to retaliate, was stupid enough to say, with ill-timed pride,
"All right. But to prove that Adamberger has already
made his reputation in Vienna and does not need to make

1 The two arias on p. 36 and p. 102 have been set to music by Signor
Maestro Mozart to suit Signora Lange, as the arias of Signor Maestro Anfossi
were not written for her voice, but for another singer. It is necessary that
this should be pointed out so that honour may be given to whom it is due
and so that the reputation and the name of the most famous Neapolitan may
not suffer in any way whatsoever. * K. 420.

1273

Z. 495 MOZART TO HIS FATHER

a name for himself by singing music expressly written for
him, he will only sing what is in the opera and will never
again, as long as he lives, introduce any aria" What was
the result? Why, that he was a complete failure, as was
only to be expected! Now he is sorry, but it is too late.
For if he were to ask me this very day to give him the
rondo, I should refuse. I can easily find a place for it in
one of my own operas. But the most annoying part of the
whole affair is that his wife's prophecy and mine have come
true, that is, that Count Rosenberg and the management
know nothing whatever about it, so that it was only a ruse
on the part of Salieri. Thank God, my wife is quite well
again, save for a slight cold. We and our little Raimund,
aged a fortnight, kiss your hands and embrace our dear
sister with all our hearts and are ever your most obedient
children

W: A: C: MOZART

(495) Mozart to his Father

[Autograph in the possession of Frau Floersheim-Koch^ Florence]*
MON TRES CHER PERE, VlENNE, ce $ de Juliet, 1783

We both thank you for the prayer you made to God
for the safe delivery of my wife. Little Raimund is so like
me that everyone immediately remarks it. It is just a$ if
my face had been copied. My dear little wife is absolutely
delighted, as this is what she had always desired* He will
be three weeks old next Tuesday and he has grown in
an astonishing manner. As for the opera 2 you have given
me a piece of advice which I had already given myself.
But as I prefer to work slowly and with deliberation, I
thought that I could not begin too soon. An Italian poet

1 This letter was first published by the editor in Music and Letter s, April
1937, PP- 128-133. 3 "L'oca del Cairo."

1274

MOZART TO HIS FATHER Z.

here has now brought me a libretto1 which I shall perhaps
adopt, if he agrees to trim and adjust it in accordance
with my wishes. I feel sure that we shall be able to set out
in September; and indeed you can well imagine that our
most ardent longing is to embrace you both. Yet I cannot
conceal from you, but must confess quite frankly that
many people here are alarming me to such an extent that
I cannot describe it. You already know what it is all
about.'1 However much I protest I am told: "Well, you
will see, you will (never get away again.} You have no
idea of what (that wicked malevolent Prince is capable of/}
And you {cannot} conceive what (low tricks) are resorted
to in affairs of this kind. Take my advice and {meet your
father} in some third place!' This, you see, is what has
been worrying my wife and me up to the present and what
is still perturbing us. I often say to myself: " Nonsense,
it's quite impossible! " But the next moment it occurs to
me that after all it might be possible and that it would
not be the (first injustice) which he has (committed.)
Basta! In this matter no one can comfort me but you,
my most beloved father! And so far as I am concerned,
whatever happened would not worry me very much, for I
can now adapt myself to any circumstances. But when I
think of my wife and my little Raimund, then my in
difference ceases. Think it over. If you can give me an
assurance that I shall be (running no risk,) we shall both
be overjoyed. If not, then we must hit on some plan; and
there is one which I should prefer above all others! As
soon as I receive your reply, I shall tell you about it.
I am convinced that if one is to enjoy a great pleasure,
one must forgo something. Why! In the greatest happi-

1 Undoubtedly the Italian poet is Da Ponte and the libretto that of "Lo
sposo deluso", Mozart's unfinished opera buffa. For a discussion of the
evidence for this theory see Music and Letters, April 1937, p. 131 f.

2 See p. 1266.

1275

Z. 496 MOZART TO HIS FATHER 1783

ness there is always something lacking. Meanwhile, fare-
welL Take care of your health. We both kiss your hands
and embrace our dear sister with all our hearts and are
ever your most obedient children

W: C: MOZART

P.S. — This does not mean that you are to give up
prodding Varesco. Who knows whether I shall like the
opera of the Italian poet?

Adieu

(496) Mozart to his Father

[A utograph in the possession of K. Geigy-Hagenbach, Basle}
MON TRES CHER PERE! VIENNA, July I2tk, 1783

I have received your letter of the 8th and am delighted
to hear that, thank God, you are both well. If you insist
on calling what are real obstacles mere humbug, I cannot
prevent you from doing so. Anyone may call a thing by a
wrong name if he pleases ; but whether it is right to do so,
is a very different matter. Have I ever given you the
impression that I had no desire or longing to see you?
Most certainly never! But assuredly you will have ob
served that I have no desire whatever to see Salzburg or
the Archbishop. So, if we were to meet in a third place,
who would then be humbugged? Why, the Archbishop,
and not you. I suppose I need not repeat that I care very
little for Salzburg and not at all for the Archbishop, that
I shit on both of them and that it would never enter my
head voluntarily to make a journey thither, were it not
that you and my sister lived there. So the whole business
was due solely to the well-meant caution of my good
friends, who surely are not devoid of sound common
sense. And I did not think that I was acting unreasonably

1276

1783 CONSTANZE MOZART TO NANNERL MOZART Z. 497

if I made some enquiries from you on the subject and then
followed your advice. My friends' anxiety amounted to
this, that, as I have never been discharged, the Arch
bishop might have me arrested. But you have now set my
mind completely at rest and we shall come in August, or
certainly in September at the latest. Herr von Babbius
met me in the street and walked home with me; he went
off to-day and if he had not had another engagement he
would have lunched with us yesterday.

Dear father! You must not suppose that because it is
summer I have nothing to do. Everyone has not gone
into the country and I still have a few pupils to look after.
Just now I have one for composition, who will make a
nice face when I tell him of my journey. Well, I must
close, as I have a good deal to write. Meanwhile, arrange
the bowling-green in the garden, for my wife is a great
lover of the game. She is always a little bit nervous lest
you should not like her, because she is not pretty. But I
console her as well as I can by telling her that my dearest
father thinks more of inward than of outward beauty.
Now farewell. My wife and I kiss your hands a thousand
times and embrace our dear sister with all our hearts and
are ever your most obedient children

W. and C. MOZART

(497) Constance Mozart to Nannerl Mozart

[Autograph in the Bibliothek der Geselhchaft der Musikfreunde, Vienna]

VIENNA, July igth> 1783

MOST PRECIOUS AND DEAREST MADEMOISELLE SlSTER-
IN-LAW!

My dear husband has received your letter and both
he and I are delighted that you are looking forward so

1277

L. wja C. MOZART TO MARGARETE MARCHAND 1783

much to seeing us. But he was a little annoyed by your
suspicion that we were not so very anxious to see you;
and indeed I myself felt rather hurt. To prove, however,
that everything is all right again, let me tell you that we
always intended to go to you in August; and so we
wanted to give you a little surprise, which will no longer
be one for you, but will be so at any rate for our dear,
beloved father — that is, if you can keep it quiet, which
we beg you to do; for only on this condition are we telling
you the truth. Well, you have dragged our secret out of
us by your naughty letter; and we shall be quite content
if only we give this unexpected pleasure to our dear
father. So — please do not mention our plan. Well, about
August ist I shall have the joy and happiness of embracing
you. Until then I remain with the deepest respect, my
dearest sister-in-law, yours sincerely,

MARIA CONSTANZA MOZART

(497a) Constance Mozart to Margarete Marchand

[A utograph in the Bibliothek der Gesellschaft der Musikfreunde, Vienna}

VIENNA, July igth, 1783
DEAREST MADEMOISELLE MARCHAND!

I am delighted that you still remember me and have
taken the trouble to write to me. Believe me, I am just as
much longing to see Salzburg and to have the joy and
happiness of meeting personally my dear papa-in-law and
my dear sister-in-law and showing them my devotion as
you can possibly be longing for an opportunity of seeing
your own beloved parents again. And then the pleasure
of embracing my dear Mademoiselle Marguerite, whom
I knew in Mannheim and Munich as a very clever young
woman and who in the meantime has had plenty of

1278

1783 MOZART TO M. MARCHAND AND HIS SISTER L.

opportunity of perfecting her gifts! How delighted I shall
be to see her again, kiss her and admire her talents. God
willing, I shall be able to do so on August ist. Meanwhile
I urge you to observe the strictest silence and I remain
your most devoted servant and friend

MARIA CONSTANZA MOZART

(497)3) Mozart to Margarete Marchand and his Sister

[A utograph in the Bibliothek der Gesellschaft der Musikfreunde, Vienna}

VIENNA, July igth, 1783 J

MOST BELOVED MLLE MARCHAND AND DEAREST SlSTER!

Neither of you should believe a word of what my
wife has scrawled up above. How can we be in Salzburg
on August ist if we must be here on the 26th? But if it
is not necessary for me to be here on the 26th, we shall
certainly be with you on August ist. I shall congratulate
you then in person on your name-day,2 my sister! and I
shall be able to congratulate you also on the octave.3
Meanwhile farewell, dear sister, and you too, dear Mile
Marchand. I hope soon to hear you sing and play on the
clavier. We must celebrate my sister's name-day with a
concert. Farewell to both of you. Dearest sister, I kiss
you most cordially and am ever your sincere brother

W. A. MOZART

1 A postscript to his wife's letters.

a July 26th,

3 i.e. a week later.

1279

Z. 499 MOZART TO HIS FATHER I783

(498) Mozart to his Sister

{From Otto Jahn, W. A. Mozart, 2nd edition, vol. ii. p. $$gf.]

SALZBURG, /#/y 31^, 1783
Here's to you
In a fine punch- brew!
To-day I went out shopping, and why, you'd never

guess,

But now that I must tell you, the reason was no less
Than with some trifling gift my sister to delight,
For her to please Pd strive with all my main and

might.

Alas! Pm not quite sure if punch you like to drink?
Ah! Please do not say no, or else the seal will stink.
But to myself I thought, she loves the English faces.
For if she favoured Paris, I'd give her pretty laces,
A bouquet of fine flowers or perhaps some perfume rare.
But you, my dearest sister, are no coquette, I swear.
So from your brother take this punch (it's very strong

and choice)

And may repeated draughts of it your heart and soul
rejoice.

W. A. MOZART
Poet-laureate of the marksmen
Salzburg, July 3ist,

1783-

(499) Mozart to his Father

[Autograph in the Nationalbibliothek, Vienna}

LlNZ, October 31^, 1783 r

We arrived here safely yesterday morning at nine
o'clock. We spent the first night in Vocklabruck and

1 Owing to the visit of Mozart and his wife to Salzburg during the months
of August and September there is a gap in his letters to his father.

1280

ANNA STORAGE IN THE CHARACTER OF EUPHROSYNE

From an engraving by Conde after a portrait by De Wilde

(British Museum)

1783 MOZART TO HIS FATHER Z. 499

reached Lambach next morning, where I arrived just in
time to accompany the "Agnus Dei" on the organ. The
abbot x was absolutely delighted to see me again and told
me the anecdote about you and himself in Salzburg. We
spent the whole day there and I played both on the organ
and on a clavichord. I heard that an opera was to be
given next day at Ebelsberg at the house of the Prefect
Steurer (whose wife is a sister of Frau von Barisani) and
that almost all Linz was to be assembled. I resolved there
fore to be present and we drove there. Young Count Thun
(brother of the Thun in Vienna) called on me immediately
and said that his father had been expecting me for a fort
night and would I please drive to his house at once for I was
to stay with him. I told him that I could easily put up at
an inn. But when we reached the gates of Linz on the
following day, we found a servant waiting there to drive
us to old Count Thun's, at whose house we are now stay
ing. I really cannot tell you what kindnesses the family
are showering on us. On Tuesday, November 4th, I am
giving a concert in the theatre here and, as I have not a
single symphony with me, I am writing a new one 2 at
break-neck speed, which must be finished by that time.
Well, I must close, because I really must set to work. My
wife and I kiss your hands, ask you to forgive us for
inconveniencing you for so long and thank you once
more very much for all the kindnesses we have received.
So farewell. We send cordial greetings to little Greta,3 to
Heinrich 4 (about whom I have already said a great deal
here) and Hanni.5 Please give a special message to little

1 Amandus Schickmayr, whom Mozart had met in 1767.

2 K. 425, the "Linz" symphony in C major.

3 Margarete Marchand. 4 Heinrich Marchand.

5 Maria Johanna Brochard, the eight-year-old cousin of Heinrich and
Margarete Marchand, had also become a pupil of Leopold Mozart, in whose
house she was living. In 1790 she joined the Munich court theatre and
subsequently married the dancer Franz Renner.

VOL. Ill I28l Q

L. 500 MOZART TO HIS FATHER 1783

Greta, and tell her that when she sings she must not
be so arch and coy; for cajolings and kissings are not
always palatable — in fact only silly asses are taken in by
such devices. I for one would rather have a country lout,
who does not hesitate to shit and piss in my presence, than
let myself be humbugged by such false toadyings, which
after all are so exaggerated that anyone can easily see
through them. Well, adieu. We kiss our dear sister most
cordially. I am ever your most grateful son

W. A. MOZART

(500) Mozart to his Father

[Autograph in the Mozarteum, Salzburg]

MON TRES CHER PERE! VIENNA, December 6thy 1783

As I had no idea that you. would write to me at
Vienna until I had informed you of my arrival, I only
went to Peisser to-day to ask for letters and found your
letter of November aist, which had been lying there for
twelve days. I trust that you have received my letter
from Vienna. And now I have a request to make. No
doubt you remember that when you came to Munich
while I was composing my grand opera,1 you reproached
me with the debt of twelve louis d'or which I had drawn
from Herr Scherz in Strassburg, adding these words:
"What annoys me is your lack of confidence in me. Well,
at all events / now have the honour of paying twelve louis
d? or for you!' I went off to Vienna and you returned to
Salzburg. From what you said I assumed that I need not
give the matter another thought. Moreover, I presumed
that if you had not paid my debt, you would have written
to me or told me of it when we were together lately. So
imagine my embarrassment and my surprise when the

1 "Idomeneo."
1282

1783 MOZART TO HIS FATHER z. 500

day before yesterday a clerk of the banker Herr Ochser
brought me a letter from Herr Haffner in Salzburg, which
contained an enclosure from Herr Scherz. As the trans
action took place five years ago, he is demanding interest
on the sum. On hearing this I said quite frankly that any
such payment was out of the question and added that
legally I was not bound to pay a farthing, as the bill was
payable six weeks from the date and consequently had
expired. Still in consideration of Herr Scherz's friendship
I should pay the original sum, but, no interest being
named, I was not liable for anything more. All that I
ask of you, dearest father, is to be good enough to go
security for me with Haffner, or rather Triendl, just for a
month. As a man of experience you can easily imagine
that just now it would be very ^ inconvenient for me
to be left short of money. Herr Ochser's clerk had to
admit that I was right, but contented himself with saying
that he would tell Herr Haffner. What annoys me most
about the whole business is that Herr Scherz will not have
a very good opinion of me — a proof that chance, coin
cidence, circumstances, a misunderstanding and Heaven
knows what may rob an innocent man of his good name!
Why did Herr Scherz never mention the transaction all
this long while? Surely my name is not so obscure! My
opera l which was performed at Strassburg must at least
have given him some idea that I was in Vienna! And
then his connection with Haffner in Salzburg. If he had
reminded me during the first year, I should have paid
him on the spot with pleasure. I mean to pay it still, but
at the moment I am not in a position to do so. Perhaps
he thought that he had to do with some simpleton, who
would pay what he does not owe? Well, then, let him keep
the title for himself. f

Now let us talk of something else. I have only three

1 "Die Entfuhrung aus dem Serail." See p. 1252, n. 5.

1283

L. 500 MOZART TO HIS FATHER 1783

more arias to compose and then the first act of my opera l
will be finished. I can really say that I am quite satisfied
with the aria buffa, the quartet and the finale and am
looking forward to their performance. I should therefore
be sorry to have written this music to no purpose, I mean,
if we do not secure what is absolutely necessary. Neither
you nor Abbate Varesco nor I have noticed that it will
have a very bad effect and even cause the entire failure
of the opera if neither of the two principal female singers
appear on the stage until the very last moment, but keep
on walking about on the bastions or on the ramparts of
the fortress. The patience of the audience might hold out
for one act, but certainly not for a second one — that is
quite out of the question. This first occurred to me at
Linz, and it seems to me that the only solution is to con
trive that some of the scenes in the second act shall take
place in the fortress — camera della fortezza. The scene
could be so arranged that when Don Pippo gives orders
for the goose to be brought into the fortress, the stage
should represent a room where Celidora and Lavina are.
Pantea comes in with the goose and Biondello slips out.
They hear Don Pippo coming and Biondello again be
comes a goose. At this point a good quintet would be very
suitable, which would be the more comic as the goose
would be singing along with the others. I must tell you,
however, that my only reason for not objecting to this
goose story altogether was because two people of greater
insight and judgment than myself have not disapproved
of it, I mean yourself and Varesco* But there is still time
to think of other arrangements. Biondello has vowed to
make his way into the tower; how he manages to do so,
whether in the form of a goose or by some other ruse, does
not really matter. I should have thought that effects far
more natural and amusing might be produced, if he were

1 "L'oca del Cairo."
1284

1783 MOZART TO HIS FATHER Z. 500

to remain in human form. For example, the news that in
despair at not being able to make his way into the
fortress he has thrown himself into the sea, could be
brought in at the very beginning of Act II. He might
then disguise himself as a Turk or anyone he chose
and bring Pantea with him as a slave (a Moorish girl,
of course). Don Pippo is willing to purchase the slave
for his bride. Therefore the slave-dealer and the Moorish
girl must enter the fortress in order to be inspected.
In this way Pantea has an opportunity of bullying
her husband and addressing all sorts of impertinent
remarks to him, which would greatly improve her
part, for the more comic an Italian opera is the better.
Well, I entreat you to expound my views very clearly to
Abbate Varesco and to tell him that I implore him to go
ahead. I have worked hard enough in this short time.
Why, I should have finished the whole of Act I, if I did
not require some alterations in the words of some of the
arias. But say nothing of this to him at present. My
German opera "Die Entfiihrung aus dem Serail" has
been performed both in Prague and Leipzig excellently
and with the greatest applause. I have heard both these
facts from people who saw the performances. I shall make
a point of looking up Herr von Deckelmann and shall
give him the cadenzas, the concerto and the four ducats.
Please send me as soon as possible my "Idomeneo", the
two violin duets x and Sebastian Baches fugues. I require
"Idomeneo" because during Lent I am going to give as
well as my concert in the theatre six subscription concerts,
at which I should like to produce this opera. Further, will
you please ask Tomaselli to let us have the prescription
for that eczema ointment, which has done us excellent

1 K. 423 and 424, duets for violin and viola, which Mozart composed
during the summer at Salzburg for Michael Haydn, who owing to an in
disposition could not carry out a commission from the Archbishop.

1285

L. 501 MOZART TO HIS FATHER 1783

service. One never knows when one may need it again
either for oneself or to hand on to someone else. A bird
in the hand is always worth two in the bush. Well, adieu.
My wife and I kiss your hands a thousand times and
embrace our dear sister with all our hearts and are ever
your most obedient children

W: et C: MOZART

P.S. — Please give Varesco a good talking to and hurry
him up. Do send the music soon. We kiss Greta, Heinrich
and Hanni; I shall write to Greta one of these days. Tell
Heinrich from me that both here and in Linz I have
already said many things in his favour. Tell him too that
he ought to concentrate hard on staccato-playing, for it
is just in this particular that the Viennese cannot forget
Lamotte.1 Adieu.

(501) Mozart to his Father

[Copy in the Preussische Staatsbibliothek, Berlin}

MON TRES CHER PERE! VlENNE, ce io Decembre, 1783

I am writing in the greatest haste to tell you that I
have already bought the opera "Der Rauchfangkehrer" 2
for six ducats and have it at home. If the mail coach
leaves for Salzburg next Sunday, I shall send it along
with the two concertos; if not, well then it shall go by
letter post. As for the money, just please deduct the four
ducats which you were good enough to advance me.
There is no German translation of the opera "Fra due
litiganti" 3 ; and judging by your letter you seem to think

1 Franz Lamotte, an excellent violinist, had been^since 1772 in the service
of the Viennese court. He died in 1781.

2 The libretto of "Der Rauchfangkehrer", which was performed in 1781,
was by Dr. Auenbrugger, the music by Salieri.

3 "Frai due litiganti", by Giuseppe Sarti (1729-1802), a famous operatic
composer of the eighteenth century.

1286

I78s MOZART TO HIS FATHER Z. 501

that "Der Rauchfangkehrer" is an Italian opera! Not at
all. It is a German and, what is more, a wretched work,
the author of which is Doctor Auernszucker l in Vienna.
You will remember that I told you about it and of how
Herr Fischer publicly damned it in the theatre. Herr
Kiihne has probably got the charming little libretto.
Please give many compliments from us both to him and
to his wife. As for Herr Lange and his wife, the truth is
that he has obtained permission from His Majesty to
travel for a few months and that before their departure
they are going to perform an opera for their own benefit
and that this opera will be my "Entfuhrung aus dem
Serail". There is not a word of truth in the story about
Herr Schroder.

Meanwhile you will have received my last letter. Do
your very best to make my libretto a success. I wish that
in Act I some arrangement could be made to let the two
women come down from the bastion when they have to
sing their arias; in this case I should gladly consent to
their singing the whole finale up above. We are both very
sad about our poor, bonny, fat, darling little boy.2 Well,
I must close. Dearest, most beloved father! We both kiss
your hands and embrace our dear sister with all our
hearts and are ever your most obedient children

W. et C. MOZART

1000,000,000 kisses to Greta, Heinrich and little Hanni.
Adieu!

P.S.— We both send Nannerl

(1) a couple of boxes on the ear

(2) a couple of slaps on the face

(3) a couple of raps on the cheek

(4) a couple of whacks on the jaw

1 Cp. p. 1286, n. 2. . , 2 See p. 1269, n. I.

1287

L. 502 MOZART TO HIS FATHER i783

(5) a couple of smacks on the jowl

(6) a couple of cuffs on the mug.

P.S. — Please do not forget about Tomaselli. That
reminds me, will you please send us, when you have
time, a couple of images of the infant Jesus of Loreto.
By the way, I must not forget about little Lisa, Theresa's
cousin, who often came to your house. If she wants to
come to Vienna, we shall take her at once.1 Well, adieu,
really adieu this time.

(502) Mozart to his Father

[Autograph in the Nationalbibliothek, Vienna]
MON TRES CHER PERE! VlENNE, ce 24 de Xber, 1783

I have received your last letter of the iQth enclosing
a portion of the opera. Well, let me deal with this, which
is the most urgent matter. Abbate Varesco has written in
the margin beside Lavina's cavatina: "a cui servira la
musica della cavatina antecedente",2 that is, Celidora's
cavatina. But that is out of the question, for in Celidora's
cavatina the words are very disconsolate and despairing,
whereas in Lavina's they are most comforting and hope
ful. Besides, for one singer to echo the song of another is
a practice which is quite out of date and is hardly ever
made use of. It can only be tolerated in the case of a
soubrette and her amant, that is, in the ultime parti.3 My
opinion is that the scene should start with a fine duet,
which might very well begin with the same words and
with a short aggiunta for the coda. After the duet the

1 Mozart and his wife employed her as their maid, a kindness which later
they had cause to regret.

2 For which the music of the preceding cavatina will do.

3 i.e. secondary characters. Mozart himself did this in"Lafintagiardiniera",
composed in 1775, that is to say, in nos. Qa and 90 of Act I.

1288

1783 MOZART TO HIS FATHER Z. 502

conversation can be resumed. E quando s'ode il cam-
panello delta custode? Mile Lavina, not Celidora, will be
so good as to remove herself, so that the latter, as a prima
donna, may have an opportunity of singing a fine bravura
aria. Some arrangement of this kind would suit much
better the composer, the singer, the spectators and the
audience, and the whole scene would undoubtedly become
far more interesting. Further, the audience would hardly
be able to tolerate the same aria from the second singer,
after having heard it sung by the first. In the next place,
I do not know what you are both driving at by the follow
ing arrangement. At the end of the newly inserted scene
between the two women in Act I, the Abbate writes:
Segue la scena VIII che prima era la VI I e cosi cangiansi
di mano in mano i numeri.2 From this description I am to
suppose that, contrary to my wish, the scene after the
quartet in which both women sing their little tunes in turn
at the window, is to remain; but that is impossible. For
not only would the act be very much lengthened, and to
no purpose, but it would become very tedious. It always
seemed to me very ridiculous to read: —

CELIDORA: Tu qui m'attendi, arnica. Alia custode farmi

veder vogl'io; ci andrai tu poi.
LAVINA: Si, dolce arnica, addio. (Celidora parte.) 3

Lavina sings her aria. Celidora comes in again and says:
Eccomi, or vanne, etc.4 Now it is Lavina' s turn to go and
Celidora sings her aria. They relieve each other like
soldiers on guard. Moreover, as in the quartet they all

1 And when the duenna's bell is heard.

2 Scene VIII, formerly Scene VII, then follows, and thus the numbers
are correspondingly altered.

3 Celidora: Wait for me here, my friend. I wish to show myself to the
duenna. You may go later.

Lavina: Yes, sweet friend, good-bye. (Exit Celidora.)

4 Here I am, now you may go, etc.

1289

L. 502 MOZART TO HIS FATHER 1783

agree to carry out their proposed scheme, it is far more
natural that the men should go off and beat up the people
required for this purpose and that the two women should
betake themselves quietly to their apartments. The most
they could still be allowed is a few lines of recitative.
Indeed, I have not the smallest doubt that it was never
intended that the scene should be retained, and that
Varesco simply forgot to indicate . that it was to be
omitted. I am very curious to see how you carry out your
capital idea of bringing Biondello into the tower. Pro
vided it is diverting, I shall raise no objection, even if it
is a little unnatural. I am not at all alarmed at the notion
of a few fireworks, for the arrangements of the Viennese
fire brigade are so excellent that there is no cause for un
easiness about having fireworks on the stage. Thus
"Medea" is often performed here, at the end of which
one half of the palace collapses, while the other half goes
up in flames. To-morrow I shall look round for copies of
the libretto of the "Rauchfangkehrer".1 I have not yet
been able to find the "Contessina" (or the "Countess").2
If it is not to be had, would any of the following be suit
able, "Das Irrlicht" by Umlauf, "Die schone Schu-
sterin" by the same,3 or "Die Pilgrimme von Mekka" ?4
The two latter operas especially would be very easy to
perform. Kuhne probably has them already. Please deliver
greetings from both of us to him and to his wife. I trust
that you received my last short letter. Let me remind you
once more to send me the two duets, Bach's fugues and,
above #//, "Idomeneo" — you will know the reason. I am
particularly anxious to go through this, opera on the

1 See p. 1286, n. 2. Evidently Leopold Mozart was looking for operas
suitable for performance at Salzburg.

2 By Florian Leopold Gassmann (1729-1774).

3 "Das Irrlicht" was produced in 1782, "Die schone Schusterin" in 1779,
both at the Burgtheater in Vienna.

4 Gluck's opera "Die Pilgrimme von Mekka" was produced in 1764.

1290

1784 MOZART TO HIS FATHER ^503

clavier with Count Sickingen. If you could have Emanuel
Bach's fugues (there are six of them, I think) copied and
sent to me some time, you would be doing me a great
kindness. I forgot to ask you to do this when I was at
Salzburg. Meanwhile, farewell. The day before yester
day, Monday, we had another grand concert of the
society,1 when I played a concerto and Adamberger sang
a rondo of my composition.2 The concert was repeated
yesterday, but a violinist played a concerto in my place.
The day before yesterday the theatre was full. Yesterday
it was empty. I should add that it was the violinist's first
performance. Well, adieu, I kiss your hands a thousand
times and we are both your most obedient children

W: et C: MOZART

A thousand smacks to my sister and to all. Adieu.
(503) Mozart to his Father

{Autograph in the possession of Artaria and Co., Vienna^

MON TRES CHER PERE! VIENNE, ce io de Feb: 1784

How very stupid of Artaria! He thought that they
would not take the parcel at the Post Office and instead
of returning it to me at once, he kept it back- until it was
time for the mail coach to leave, without telling me a
word about the arrangement! This time I have had no
letter from you. I really do not understand Peisser. These
people are about three yards away from our house (I have
measured the distance). Sometimes I myself ask whether
any letters have arrived, but usually my maid does so.
They bawl out "No" in the most impertinent manner, and
when the asses (I mean, the gentlemen) have a look, why,
they suddenly find one after all. Again, if a letter happens

1 The Wiener Tonkunstlersozietat.
2 Probably K. 431, composed in 1783.

1291

Z. 503 MOZART TO HIS FATHER 1784

to come at some odd time, they prefer to leave it lying for
a fortnight rather than send it to me by the shopboy,
which I have often asked them to do. So I beg you to
write direct to my address. I have already received three
letters from different countries. Just address it "Im
Trattnerischen Hause, Zweite Stiege, im Dritten Stock".1
Besides, I think that Herr Peisser makes a small profit on
my letters.

In my last letter I wrote to you about Varesco and my
opera.2 At present I haven't the slightest intention of
producing it. I have works to compose 3 which at the
moment are bringing in money, but will not do so later.
The opera will always bring in some; and besides, the
more time I take, the better it will be. As it is, the im
pression I have gained from Varesco's text is that he has
hurried too much, and I hope that in time he will realise
this himself. That is why I should like to see the opera as
a whole (he need only jot, it down in rough and ready
fashion). Then we can make drastic alterations. For by
Heaven there is no need to hurry. If you were to hear
what I have composed, then you would wish, as I do,
that my work should not be spoilt! And that is so easily
done — and so often. What I have composed has been put
away safely. I guarantee that in all the operas which will
be performed until mine is finished, not a single idea will
resemble one of mine. Well, I must close, for I must really
compose. I spend the whole morning giving lessons, so I
have only the evening for my beloved task — composition.
I have just one more question to ask, and that is, whether
you are now having in Salzburg such unbearably cold

1 The Mozarts had moved into new lodgings in a house belonging to
J. T. von Trattner, am Graben no. 591 (now no. 29).

2 "L'oca del Cairo", which Mozart never finished.

3 Probably his clavier concertos, six of which (K. 449, 450, 451, 453, 456,
459) were composed in 1784. From 1784 to 1786 Mozart was the most popular
and successful clavier-player in Vienna. See p. 1296 f.

1292

MOZART TO HIS FATHER L. 504

weather as we are having here? Herr Freyhold l of Mainz
wanted to call on me and sent up a servant with the letter,
he himself remaining below — probably in the coach. But
as I had to go out immediately I took the letter and asked
him to come some afternoon, when I am always at home.
I have been wanting to go along one of these days (for
he has not turned up), but have not had the time. Well,
adieu. My wife and I kiss your hands a thousand times
and embrace our dear sister with all our hearts and are

ever your most obedient children

W. and C MOZART

(504) Mozart to his Father

[Autograph in the possession of Rudolf Nydahl, Stockholm}
MON TRES CHER P^RE! VlENNE, ce 2O de fevrier, 1784

I have received your last letter. Yesterday I was
fortunate enough to hear Herr Freyhold 2 play a concerto
of his own wretched composition.3 I found very little to
admire in his performance and missed a great deal. His
whole tour de force consists in double-tonguing. Other
wise there is nothing whatever to listen to. I was delighted
that the Adagio, which by the way -he played at your
house, was very short. For at first the players who
accompanied him could not get the hang of it, as,
although the movement was written in common time, he
played it Alia Breve. And, when I thereupon noted down
Alia Breve with my own hand, he admitted that my Papa
in Salzburg had also made a fuss. The rondo ought to be
jolly, but it was the silliest stuff in the world. As soon as I
heard the first Allegro, I realised that if Herr Freyhold

* Little is known about Freyhold, who was a flautist in the service of the
Margrave of Baden-Durlach. He gave concerts in 1776 and 1779 at Frankfurt-
am-Main. * See n. I. . _, .

3 The autograph has "scomposition", one of Mozart's favourite devices
for expressing contempt.

1293

Z. 504 MOZART TO HIS FATHER 1784

would only learn composition properly, he would not be
a bad composer. I am very sorry that Herr Hafeneder
has died so prematurely, and particularly because you will
now be saddled with that seccatura* Yet I must admit that
the Prince is right. In his place I should have made the
arrangement long before Hafeneder's death. But I should
have accompanied my command with an increase of
salary, and arranged that the boys should go to your
house or that you should have free quarters in the
Kapellhaus. Well, two gentlemen, a vice-controleur and a
cook, are going off to Salzburg in a few days, and I shall
probably ask them to take with them a sonata,1 a sym
phony 2 and a new concerto.3 The symphony is in the
original score, which you might arrange to have copied
some time. You can then send it back to me or even give
it away or have it performed anywhere you like. The
concerto is also in the original score and this too you may
have copied; but have it done as quickly as possible and
return it to me. Remember, do not show it to a single soul,
for I composed it for Fraulein Ployer,4 who paid me
handsomely. But the sonata you may keep for good.
Well, I must ask you something about which I know
nothing whatever. If I have some work printed or
engraved at my own expense, how can I protect my
self from being cheated by the engraver? For surely he
can print off as many copies as he likes and therefore

1 Possibly K. 448, sonata for two claviers, composed in 1781.

2 K. 425, the "Linz" symphony, composed in 1783.

3 K. 449, composed for Barbara Ployer. This is the first entry in Mozart's
Thematisches Verzeichnis, the list which he kept of his compositions from
February 9th, 1784, until his death. A facsimile edition of this list, with an
introduction by O. E. Deutsch, has been published by Herbert Reichner,
Vienna, 1938.

4 Barbara, daughter of Court Councillor Gottfried Ignaz von Ployer,
since 1780 agent of the Salzburg Court in Vienna. She was Mozart's pupil
on the clavier and in composition, and for her he composed his clavier
concertos K. 449 and K. 453.

1294

1784 MOZART TO HIS FATHER Z 505

swindle me? The only way to prevent this would be to
keep a sharp eye on him. Yet that was impossible in your
own case, when you had your book printed, for you were
at Salzburg and the printer was at Augsburg.1 Why, I
almost feel inclined not to sell any more of my composi
tions to any engraver, but to have them printed or engraved
by subscription at my own expense, as most people do
and in this way make good profits. I am not nervous
about getting subscribers. For I have already had sub
scription offers from Paris and Warsaw. So please let me
know what you think about this. Now I have another
request to make. Would it be possible to let me have a copy
of my certificate of baptism? They all swear here that the
first time I came to Vienna I must have been at least ten
years old.2 The Emperor himself contradicted me to my
face last year in the Augarten. Herr von Strack now
believes my statement. If I showed them my certificate of
baptism I could shut them all up at one go. Now farewell.
My wife and I kiss your hands a thousand times and
embrace our dear sister with all our hearts and are ever
your most obedient children

W: et C: MOZART

(505) Mozart to his Father

[Autograph in the possession of Paul Gottschalk, Berlin}

MON TRfes CHER PERE! VIENNE, ce 3 mars, 17843

I have received your letter of February 24th. It is
much better for you to send your letters always through
the post. I received on Monday your letter which, if you
had sent it through Peisser, I should not have had until

1 Mozart is referring to his father's Violinschule, which was published in
1756 by J. J. Lotter, Augsburg.

2 Mozart's first visit to Vienna was in 1762, when he was six.

* Nissen, pp. 479-480, throws together this letter and the following one of
March 2Oth, thereby producing a strange confusion in dates.

1295

L. 505 MOZART TO HIS FATHER 1784

Tuesday or Wednesday. I have not yet received the
concertos, but I shall ask Artaria about them at once.1
You must forgive me if I don't write very much, but it
is impossible to find time to do so, as I am giving three
subscription concerts in Trattner's room on the last three
Wednesdays of Lent, beginning on March i7th. I have
a hundred subscribers already and shall easily get another
thirty. The price for the three concerts is six gulden. I
shall probably give two concerts in the theatre this year.
Well, as you may imagine, I must play some new works
— and therefore I must compose. The whole morning is
taken up with pupils and almost every evening I have
to play. Below you will find a list of all the concerts at
which I am playing. But I must tell you quickly how it
has come about that all of a sudden I am giving private
concerts. Richter,2 the clavier virtuoso, is giving six
Saturday concerts in the said room. The nobility sub
scribed, but remarked that they really did not care much
about going unless I played. So Richter asked me to do
so. I promised to play three times and then arranged
three concerts for myself, to which they all subscribed.

Thursday, February 26th, at Galitzin's
Monday, March ist, at Johann Esterhazy's
Thursday, March 4th, at Galitzin's
Friday March 5th, at Esterhazy's
Monday 8th, at Esterhazy's
Thursday nth, at Galitzin's
Friday i2th, at Esterhazy's
Monday I5th, at Esterhazy's
Wednesday iyth, my first private concert
Thursday i8th, at Galitzin's
Friday igth, at Esterhazy's
Saturday 2oth, at Richter's

1 K. 413-415, which were published early in 1785 by Artaria and Co.
2 Georg Friedrich Richter, a popular clavier-player and teacher.

1296

1784 MOZART TO HIS FATHER L. 506

Sunday 2ist, my first concert in the theatre

Monday 22nd, at Esterhazy's

Wednesday 24th, my second private concert

Thursday 25th, at Galitzin's

Friday 26th, at Esterhazy's

Saturday 2/th, at Richter's

Monday 29th, at Esterhazy's

Wednesday 3ist, my third private concert

Thursday April ist, my second concert in the theatre

Saturday 3rd, at Richter's

Well, haven't I enough to do? I don't think that in
this way I can possibly get out of practice. Adieu. We
both kiss your hands and embrace our dear sister with
all our hearts and are ever your most obedient children

W: A: MOZART

(506) Mozart to his Father

{Autograph in the Nationalbibliothek, Vienna^

VIENNA, March w>th% 1784
Princesse d'Auersperg Madame de Hess nee de

Leporini
Prince Charles L'evecque d'Herberstein

d'Auersperg

Comte Nadasty General Comte de Rottenhan
L'Ambassadeur d'Espagne Comte Jos: d'Herberstein
Comte Joseph Seilern Jacomini

Comte de Soldyk Madame de Stokel

Madame de Trattner Comte Gundacker Stern-

berg
De Grezmiiller maj. Baron Togelman

1 The first page of the autograph is a torn sheet. The beginning of the
letter has been lost. The names of Mozart's subscribers have been left in
their original spelling.

VOL. Ill 1297 R

Madame
Baronin

MOZART TO HIS FATHER

de Hess nee Mr. de Kas
de Kanne- Raab

1784

giesser

Comte de Wiirm
Madame de Margelique
Baron Gondar
Waseige

Mr. de Lamezan
Comtesse Kevenhiiller
Baron van Swieten

Comtesse Sauer

De Sonnenfels

Lewenau

Comte Charles d'Auers-

perg
Gotek

C. Aug. Seilern
Comte d'Herberstein
De Fichtl Agent
Princesse Palm
Prince Palm
Comte de Nimptsch
Conseiller Greiner
Ployer Agent
de Grezmiiller Jim.
Comtesse Staremberg nee

Neiperg
Comtesse Althan nee

Batiany

Comtesse Passowitz
Comte Nep d'Herberstein
Comte Joseph Podstatzky
Comte Paar

Mr. de Jahn

D'Edlenbach

Comtesse Schafgotsch nee

Kollmitsch
Comte de Sauer
D' Hairing
Comte Wilhelm d'Auers-

perg

Prince Joseph Lobkowitz
E. Wiirm
Comte de Banffi
Prince Adam d'Auersperg

P. J. Schwab

Pentzenstein

de Rosty

Baronin de Waldstadten

Isdenizy

Bedezowich

Nevery

de Honickstein

Paszthory

Le Comte Fries

de Schleinitz

de Puthon

de Madruce
de Jacobi
de Lutz

Comtesse Thun nee d' Ulfeld
1298

1784

MOZART TO HIS FATHER

Z.506

Joseph Palfy
Comte Koller
D'Arensteiner
Bar: Wetzlar Pere
Comtesse Nimptsch
de Braun
de Luerewald
de Hentchl
Bar: de Ditmar
Bar: de Gebsattel
Comtesse Esterhazy
Comte Jean Esterhazy
Joseph Dietrichstein
Bar: de Brandau
Bar: de Stockmeyer
Bar: de Hochstatter

Comtesse Sauer
Prince Louis Lichtenstein
de Meyenberg*
Comte Sallabourg
Bar: de Mandelsloh
Louis Wiirben
Ernest Harrach
Le Comte Keplowitz
Dominic Kaunitz
Comte d'Otting
Comte de Kuffstein
Bar: Winkler
Reichshof: von Wolkern
Bar: de Braun
Prince de Paar
Comte d'Oeynhausen
Le Comte de Dzierza-
howschy

Jos: de Weinbremes

de Switmer

Urmeny

Bar: de Martini

de Born

Prince Gallitzin

Bar: Vockel

Comte Ladislaus d'Erdody

Comte Hugart

Comte Kollnitsch

Leopold Hoyos

Comte Czernin

Comte Neiperg

Comte Antoine Batiany

Prince de Wiirtemberg

Grenieri Envoye de

Sardaigne
Comte Kluschofsky
Joh: Adam Bienenfeld
Bar: Wetzlar Raimund
de Drostik
Strurrewitz
Arenfeld

Madame Tiirkheim
Madame de Poncet
Mylord Morton
Madame de Puffendorf
Chevalier Hall
Madame de Neuhold
Comte Adam Sternberg
Comte Etienne Zitchi
Lord Stopford
Princess Lignowsky
de Sonnenfeld

1299

MOZART TO HIS FATHER

1784

de Knecht

Comte Sternberg

Comte Waldstein

Comte George Waldstein

Le Comte Harrach Taine

Bar: Zois

von Ott

Le Comte de Nostiz

De Nostiz general

Bar: Jungwirth

Hofrat Botti

Madame d'Engelsbourg

Comte Marchall

H of rath Miiller

Bar: Brandau

Comte Wolscheck
Comtesse Waldstein nee
d'Ulfeld

Madame de Burkart
Prince de Schwarzenberg
Madame d'Eichelbourg
Comte Zinzendorf
de Hartenstein
Bar: Burkardt
Comte Bergen
Bar: de Dalberg
Madame Betty
Bar: de Gleichen
Mr. de Techenbach
Bqr: Findak
Comtesse Apumoni
Comte Charles Zitchi
Comte Francois d' Ester

hazy

Bar: d'Engelstrom
Prince de Meklenbourg

Comtesse de Hazfeld
Comte Montecuculi

I am sending you the list of all my subscribers. I by my
self have thirty more than Richter1 and Fischer2 together.
The first concert on March iyth went off very well. The
hall was full to overflowing; and the new concerto3 I
played won extraordinary applause. Everywhere I go
I hear praises of that concert.

My first concert in the theatre was to have been
to-morrow. But Prince Louis Liechtenstein is producing
an opera in his own house, and has not only run off with

1 See p. 1296, n. 2.

3 Probably John Abraham Fisher (1744-1806), the English violinist and
composer. He met in 1784 in Vienna Nancy Storace, who became his second
wife. 3 Probably K. 449. See Kochel, p. 568.

1300

1784 I- MOZART TO SEBASTIAN WINTER ^.507

the cream of the nobility, but has bribed and seduced the
best players in the orchestra. So I have postponed my
concert until April ist and have had a notice printed to
this effect. Well, I must close, as I must go off to Count
Zichy's concert. You must have patience with me until
Lent is over. We both kiss your hands and embrace our
dear sister with all our hearts and are ever your most
obedient children

W. A. MOZART
Vienna, March 2Oth, 1784.

(507) Leopold Mozart to Sebastian Winter,
Donaueschingen1

[Autograph in the Furstlich Fiirstenbergische Hofbibliothek,

Donauesckingen\

DEAR HERR WINTER, SALZBURG, April yd, 1784

I write in haste just to send you the four concertos 2
which, as I informed you, are the latest and cost four
ducats each. I still have six sonatas 3 for the clavier only,
which no one knows about, as my son composed them for
us alone. If His Highness, to whom we send our most
' respectful greetings, would care to have these too, he has
only to let me know. Farewell. I must close, as four
people have just turned up from Munich to fetch young
Marchand,4 now fifteen years old, whom I have been
teaching for three years and who is now returning as an
excellent violinist and performer on the clavier and also
a proficient composer. At the same time he has not

1 Sebastian Winter, formerly the Mozarts' friseur, had been since 1764
valet and friseur to the Prince von Fiirstenberg at Donaueschingen.

2 Leopold Mozart means the series of three clavier concertos, K. 413-415.
See p. 1304.

3 Possibly K. 310-311 and 330-333, which, with the exception of K. 311,
composed in 1777, were all composed in 1778.

4 Heinrich Marchand, Leopold Mozart's pupil.

1301

L. 508 MOZART TO HIS FATHER 1784

neglected his Latin, although as his chief side-line he
has been learning Italian and French, in which he has
made good progress. Addio!

I ever remain your honest old friend

MOZART

(508) Mozart to his Father

[Autograph in the Conservatoire de Paris]
MON TRES CHER PERE! VIENNA, April I O/A, 1784

Please don't be vexed that I haven't written to you
for so long. Surely you realise how much I have had to do
in the meantime! I have done myself great credit with my
three subscription concerts, and the concert I gave in the
theatre was most successful. I composed two grand con
certos I and then a quintet,2 which called forth the very
greatest applause: I myself consider it to be the best work
I have ever composed. It is written for one oboe, one
clarinet, one horn, one bassoon and the pianoforte. How
I wish you could have heard it! And how beautifully it
was performed! Well, to tell the truth I was really worn
out in the end after playing so much — and it is greatly
to my credit that my listeners never got tired.

I now have a commission for you. Old Baron Seine
du Pain,3 who has all kinds of music, good and bad, would
like to have the following compositions: Gatti's rondo and
duet. Recitative. Ah! Non sdegnarti, o cara. Rondo. Nel
lasciarti in questo istante. Duet. Nei giorni tuoi felici.4 So
I should be very much obliged if you could procure these
two works for me as soon as possible. I shall send you
the money for having them copied in due course through
Herr Peisser. I have finished to-day another new concerto

1 K. 450, finished on March I5th, and K. 451, finished on March 22nd.

2 K. 452, finished on March 3Oth.

3 Possibly Baron Dupin. See pp. 295 and 298. 4 On a text by Metastasio.

1302

1784 L. MOZART TO SEBASTIAN WINTER L. 509

for Fraulein Ployer.1 At the moment I am almost dressed
to go to Prince Kaimitz. Yesterday I played at Leopold
Palfy's. To-morrow I am playing at the concert which
Mile Ployer is giving. One thing more. As Hafeneder
has died, Herr von Ployer has been commissioned to
find a violinist. I recommended to him a certain Menzel,2
a handsome and clever young fellow. But I asked him not
to say anything about me, as otherwise it might not work.
He is now awaiting the decision. I think he has asked for
and is to get four hundred gulden — and a suit of clothes.
I have already scolded him about the suit of clothes — for
it is a beggarly request. If anything comes of this, I shall
give him a letter for you and the music too. You will think
him a charming violinist, and he is also a very good
sight-reader. So far no one in Vienna has played my
quartets3 so well at sight as he has. Moreover he is the
kindest fellow in the world, and he will be delighted to
play at your house whenever you want him to. I had him
in the orchestra at my concert. Well, I must close. My
wife and I kiss your hands two thousand times and em
brace our dear sister with all our hearts and are ever your
obedient children

MOZART

(509) Leopold Mozart to Sebastian Winter,
Donaueschingen

[Autograph in the Furstlich Furstenbergische Hoflibliothek,

Donaueschingen}

DEAR HERR WINTER, SALZBURG, April 22nd, 1784

Your letter of the i/th has made things rather

difficult for me, as on the afternoon of April 3rd I packed

1 K. 453, finished on April I2th.

2 Zeno Franz Menzel (1756-1823), who in 1787 became violinist in the
Vienna court orchestra. 3 Probably K. 387, 421, 428.

1303

Z. 5x0 MOZART TO HIS FATHER 1784

the three concertos1 in waterproof cloth and handed the
parcel to the mail coach, which left here on the qth at eight
o'clock inthe morning. You wrote to me exactly a fortnight
later, when the concertos must long since have arrived
at Donaueschingen. I addressed the parcel: To Herr
Sebastian Winter, valet to His Highness, etc. If it has not
reached you, please ask the postmaster to make urgent
enquiries and investigations and I shall do the same both
here and in Munich. Meanwhile I trust that I shall soon
hear from you and be relieved of all anxiety. I write in
great haste. We send our compliments to His Highness
and I am ever your most devoted

MOZART

(510) Mozart to his Father

\From Nissen, p. 481]

VIENNA, April 24^, 1784

We now have here the famous Strinasacchi2 from
Mantua, a very good violinist. She has a great deal of
taste and feeling in her playing. I am this moment com
posing a sonata3 which we are going to play together on
Thursday at her concert in the theatre.4 I must tell you
that some quartets have just appeared, composed by a
certain Pleyel,5 a pupil of Joseph Haydn. If you do not
know them, do try and get hold of them; you will find

' K. 413-415-

2 Regina Strinasacchi (1764-1823), a distinguished violinist and guitar
player. She was trained in Venice and Paris, toured Italy 1780-1783, and in
1784 came to Vienna. She married later Johann Conrad Schlick (1759-1825),
an excellent violoncellist in the orchestra of the Duke of Gotha.

3 K. 454. 4 April 29th.

5 Ignaz Joseph Pleyel (1757-1831), a most prolific instrumental composer.
He was trained in Vienna by Wanhall. His patron was Count Erdody, who
had Pleyel taught by Haydn, and who then appointed him his Kapellmeister.
In 1783 he became deputy Kapellmeister and in 1789 Kapellmeister to the
Strassburg Cathedral. In 1791 he was invited to London to take charge of the
Professional Concerts. Ten years later he settled as a music-dealer in Paris,
where he founded in 1807 the Pleyel pianoforte factory and where he re
mained until his death.

1304

1784 MOZART TO HIS FATHER L. 511

them worth the trouble. They are very well written and
most pleasing to listen to. You will also see at once who
was his master. Well, it will be a lucky day for music, if
later on Pleyel should be able to replace Haydn.

(511) Mozart to his Father

[From Ludwig Nohl> Mozarts Brief e^ ind edition, p. 406]

VIENNA, April z%tk, 1784

I must write in a hurry. Herr Richter, the clavier-
player, is making a tour on his way back to Holland, his
native country. I have given him a letter to Countess
Thun * at Linz. As he would like to visit Salzburg too, I
have given him just four lines for you, dearest father. So
I am now writing to say that he will turn up soon after
you receive this letter. He plays well so far as execution
goes, but, as you will discover when you hear him, he is
too rough and laboured and entirely devoid of taste and
feeling. Otherwise he is the best fellow in the world and is
not the slightest bit conceited. When I played to him he
stared all the time at my fingers and kept on saying:
"Good God! How hard I work and sweat — and yet win no
applause — and to you, my friend, it is all child's play."
"Yes/' I replied, "I too had to work hard, so as not to
have to work hard any longer/' Enfin, he is a fellow who
may be included among our good clavier-players and I
trust that the Archbishop will be more inclined to hear
him, because he is a clavierist — en depit de moi — and I
shall be very glad to incur that spite. It is all settled about
Menzel the violinist, and he will probably clear out on
Sunday. You will have some music from me too which he
is taking. Now, farewell.

1 Elizabeth, the fourth wife of Count Johann Josef Anton Thun (1711-
1788), father of Countess Wilhelmine Thun's husband.

I30S

L. 513 MOZART TO HIS FATHER 1784

(512) Mozart to his Father

[Autograph in the possession of W. Westley Manning, London}
MON TRES CHER P^RE! VIENNA, May %th, 1784

Menzel went off at a moment's notice and didn't find
me at home, so I could not give him a letter for you. But
I hope that he has already been to see you. I purposely
did not give him the music I promised you, because I did
not like to entrust it to him, being far too particular about
it. I prefer to send it by the mail coach. Perhaps my good
friend Richter is now at your house. If so, please give
him our greetings. Well, I must go down to the first floor
to a concert at Frau von Trattner's. She has commissioned
me to make the necessary arrangements. So I cannot
write any more, beyond saying that we are both well and
trust that you two are in good health also. Paisiello is
in Vienna at the moment on his way back from Russia.
He is going to write an opera1 here. Sard is expected here
any day on his way through to Russia. I am looking
forward to the shoe buckles. Farewell. We both kiss your
hands and embrace our dear sister with all our hearts and
are ever your obedient children

W. A. MOZART

(513) Mozart to his Father

[Autograph formerly in the Musikhistorisches Museum

von W. Heyer, Cologne}

MON TRES CHER PERE! VlENNE, ce 1 5 May, 1784

I gave to-day to the mail coach the symphony2
which I composed in Linz for old Count Thun and also
four concertos.3 I am not particular about the symphony,

1 "II Re Teodoro in Venezia", performed on August 23rd, 1784,
2 K. 425- 3 K. 449-451 and 453.

1306

I784 MOZART TO HIS FATHER L. 513

but I do ask you to have the four concertos copied at home,
for the Salzburg copyists are as little to be trusted as the
Viennese. I know for a positive fact that Hofstetter made
two copies of Haydn 's music.1 For example, I reaJfypossess
the last three symphonies he wrote. And as no one but
myself possesses these new concertos in B^ and D, 2 and no
one but myself and Fraulein von Ployer (for whom I com
posed them) those in E1* and G,3 the only way in which
they could fall into other hands is by that kind of cheating.
I myself have everything copied in my room and in my
presence. After careful consideration I decided not to
entrust the music to Menzel. Further, I formed the opinion,
which I still hold, that the music would not be of much
use to you, as except for the E^ concerto, which can be
performed a quattro without wind-instruments, the other
three concertos have all wind-instrument accompaniment;
and you very rarely have wind-instrument players at your
house. Well, I don't know what it was that you were
thinking about and did not want to mention in your
letter; and therefore to avoid all misunderstanding, I am
sending you herewith all my new compositions. I have no
news to give you save that the Emperor intended to leave
for Budapest to-day but was prevented from doing so by
a stye in his eye. Praise and thanks be to God, we are
both well and trust that you are all in good health. We
kiss your hands a thousand times and embrace our dear
sister with all our hearts and are ever your obedient
children

W. et C. MOZART

Please give my kind regards to MenzeL He knows all
four concertos very well.

1 Compositions of Michael Haydn.
2 K. 450 and 451. 3 K. 449 and 453-

1307

L. 514 MOZART TO HIS FATHER - 1784

(514) Mozart to his Father

[Autograph formerly in the Musikhistorisches Museum

von W. Heyer, Cologne]

MON TRES CHER P^RE! VlENNE, ce 2,6 May, 1784

Your last letter tells me that you have received my
letter and the music. I thank my sister for her letter and,
so soon as time permits, I shall certainly write to her.
Meanwhile please tell her that either Herr Richter is
mistaken about the key of the concerto or else I have
misread a letter in her writing. The concerto Herr Richter
praised to her so warmly is the one in Bb,1 the first one I
composed and which he praised so highly to me at the
time. I really cannot choose between the two of them, but
I regard them both as concertos which are bound to make
the performer perspire. From the point of view of diffi
culty the Bi> concerto beats the one in D.2 Well, I am very
curious to hear which of the three in Bb, D and G3 you
and my sister prefer. The one in Ei>4 does not belong at
all to the same category. It is one of a quite peculiar kind,
composed rather for a small orchestra than for a large
one. So it is really only a question of the three grand
concertos. I am longing to hear whether your judgment
will coincide with the general opinion in Vienna and with
my own view. Of course it is necessary to hear all three
well performed and with all the parts. I am quite willing to
wait patiently until I get them back, so long as no one else
is allowed to get hold of them. Only to-day I could have
got twenty-four ducats for one of them, but I think that it
will be more profitable to me to keep them by me for a few
years more and then have them engraved and published.
Well, I have something to tell you about Liserl
Schwemmer.5 She wrote a letter to her mother and as

* K. 450. 2 K. 451- 3 K. 453. 4 K. 449. s See p. 1288, n. i.

1308

MOZART TO HIS FATHER Z. 514

the address was so quaint that the Post Office would
hardly have accepted the letter, for it was as follows:

Dieser Brief zueku-
men meiner vilgeliebtisten
Frau Mutter in Salzburg
barbari schbemerin
abzugeben in der
Judengasen in Kauf
man eberl haus
in dritten Stock

I told her that I would write another address for hen
Out of curiosity and with a view to reading some more of
this amazing composition rather than with that of prying
into her secrets, I broke the seal of the letter. She pom-
plains that she gets to bed too late and has to get up too
early — though I should have thought that one would get
enough sleep between eleven and six, which is after all
seven hours! We ourselves do not go to bed until midnight
and we get up at half past five or even five, as we go to
the Augarten almost every morning. Then she complains
about the food and that too in the most impertinent
fashion. She says she has to starve and that the four of
us, that is, my wife, myself, the cook and she do not get
as much to eat as she and her mother used to have be
tween the two of them. You know that I took this girl at
the time purely out of pity and to help her when she was
a stranger in Vienna. We promised her twelve gulden a
year, and she was quite satisfied, though in her letter she
complains about it. And what has she to do? To clear the
table, hand round the dishes and take them away and
help my wife to dress and undress. Moreover, apart from
her sewing she is the clumsiest and stupidest creature in
the world. She cannot even light a fire, let alone make
coffee, things which a girl who pretends to be a parlour-

1309

L. 514 MOZART TO HIS FATHER

maid should be able to do. We gave her a gulden and the
very next day she was asking for more money. I insisted on
her giving me an account of how she had spent her money
and I found that most of it had gone on beer. A certain
Herr Johannes who travelled with her to Vienna had better
not put his nose inside my door again. Twice when we were
out, he came to our quarters, ordered in wine) and the girl,
who is not accustomed to drinking it, swilled so heavily,
that she couldn't walk without support and the second
time she was sick all over her bed. I should like to know
who would keep a creature who carries on in this way?

I would have contented myself with the lecture I gave
her when it happened and would have said nothing to
you, but her impertinent letter to her mother has driven
me to it. So will you please send for her mother and tell
her that I shall put up with her daughter for a little while
longer, but that she must look about for another place.
Were it not that I hate to make people unhappy I should get
rid of her on the spot. She says something too, in her letter,
about a certain Herr Antoni — a future husband, perhaps!

Well, I must close. My wife thanks you both for your
congratulations on her pregnancy and coming confine
ment, which will probably take place during the first days
of October.1 We both kiss your hands and embrace our
dear sister with all our hearts and are ever your most
obedient children

W. et C. MOZART

P.S. — We have not yet been able to do anything about
the fichu in lawn or muslin, because my wife doesn't
know whether my sister would prefer it untrimmed. Un-
trimmed fichus cost about a ducat each, but are not worn
very much. Those with a little pretty trimming cost at

1 Karl Thomas (1784-1858), the Mozarts' second child, was born on
September 2ist.

1310

1784 MOZART TO HIS FATHER Z. 515

least seven ducats apiece in Vienna currency. So we are
waiting for the next letter and as soon as we know, my
sister shall have what she requires. Addio.

P.S. — Please send me the buckles by the next mail
coach. I am simply longing to see them.

(515) Mozart to his Father

[Autograph in the possession of Landgerichts director A. Zahn, Landau}

MON TR£S CHER PERE! VIENNA, June gtfi-i2th, 1784

No doubt you have received my last letter. I have
received the buckles and also your letter of June ist. The
buckles are very handsome, but far too large. However, I
shall try to dispose of them.

Next Friday the court goes to Laxenburg for two or
perhaps three months. I went to Baden last week with
His Excellency Count Thun to visit his father, who had
come over from Linz to do the cure. On our way home
we drove through Laxenburg, where we visited Lee-
mann, who is now the governor of the castle. His daughter
was not at home, but he and his wife were absolutely
delighted to see me again. They both send greetings to
both of you.

June iztk. As visitors came in, I was prevented from
finishing this letter. In the meantime I have received your
letter of the 8th. My wife sends her love to my sister and
will despatch a smart fichu by the next mail coach. But
she is going to make it herself, as it will thus be somewhat
cheaper and much prettier. Please tell my sister that there
is no adagio in any of these concertos r — only andantes.
She is quite right in saying that there is something
missing in the solo passage in C in the Andante of the
concerto in D.2 I shall supply the deficiency as soon as

* K. 449-451 and K. 453. 2 K. 451.

L. 515 MOZART TO HIS FATHER i784

possible and send it with the cadenzas.1 To-morrow Herr
Ployer, the agent, is giving a concert in the country at
Dobling, where Fraulein Babette is playing her new con
certo in G,2 and I am performing the quintet; 3 we are then
playing together the grand sonata for two claviers.4 1 am
fetching Paisiello in my carriage, as I want him to hear
both my pupil and my compositions. If Maestro- Sarti
had not had to leave Vienna to-day, he too would have
come with me. Sarti is a good honest fellow! I have
played a great deal to him and have composed variations
on an air of his,5 which pleased him exceedingly. Menzel
is, and always will be an ass. The whole affair is as
follows: Herr von Ployer asked me whether I knew of a
violinist. I spoke to Menzel, who was much gratified. You
can imagine that I as an honest man advised him not to
accept anything but a permanent post. But he never came
to see me until the last moment and Herr von Ployer told
me that he was going off to Salzburg on trial for 400
gulden and, mark you, a suit of clothes. But Menzel
declared to me and to everyone here that he had actually
been appointed. Further, it now seems that he is married,
of which no one here knew anything. His wife has been
three or four times at von Ployer's. I have now given
Artaria, to engrave, the three sonatas for clavier only>
which I once sent to my sister, the first in C, the second
in A, and the third in F.6 I have given three others to
Torricella, the last of which is the one in D, which I com
posed for Diirnitz in Munich.7 Further, I am giving three
of my six symphonies to be engraved, and these I shall

1 Mozart sent her these cadenzas, K. 624 (21 a and 2ib).

2 K. 453- 3 K. 452. « K. 448.

5 K. 460, eight variations on "Come tin' agnello" from Sarti's opera "Fra i
due litiganti".

6 K. 33°-3 32- See p. 875, n. I. For particulars of this first edition, which was
advertised in the "Wiener Zeitung" on August 25th, 1784, see Kochel, p. 388.

7 K. 284. For particulars of this first edition, which included the sonatas
K. 333 and K. 454, see Kochel, p. 285.

1312

JOSEPH HAYDN (1800)

From an engraving by P. N. Guerin

(Paul Hirsch, Esq., Cambridge)

1784 MOZART TO HIS SISTER L. 516

dedicate to Prince von Fiirstenberg.1 Well, I must close.
My wife and I kiss your hands a thousand times and
embrace our dear sister with all our hearts and are ever
your obedient children

W. et C. MOZART

(516) Mozart to his Sister

[Autograph in the Preussische Staatsbibliotheky Berlin\

DEAREST SISTER! VIENNA, July 2 u/, 1784

My wife and I wish you much happiness on your
name-day.2 She would have written to you herself, but
she finds it difficult to remain seated for long, as our
future son and heir gives her no peace. She therefore
joins me in wishing you all possible joy and happiness
and we ask you to keep us ever in your sisterly affection.
Old Hampel3 and his son from Munich have been here
for a week and are leaving for Russia the day after to
morrow. They are lunching with us to-morrow and in the
evening we are going to have a little concert. I hope that
in the meantime you will have received everything by the
mail coach. I would gladly have sent you the cadenzas
for the other concertos, but you have no idea how much I
have to do! As soon as I have a little time to myself, I
shall certainly devote it to you. When you have tried over
the three grand concertos,4 I shall be most anxious to hear
which of them you like best. I beg Papa not to forget to
send me by the next mail coach what I asked him for. I
should be delighted if he could send me my old oratorio
"La Betulia liberata"5 too. I have to compose the same

1 Josef Wenzeslaus, Prince von Fiirstenberg, Donaueschingen. Mozart did
not carry out this plan. 2 July 26th.

3 Thaddaus Hampel, clarinet-player in the Munich court orchestra.

* K. 450, 451, 453-

5 K. 1 1 8, "La Betulia liberata", an oratorio on a text by Metastasio,
composed in 1771.

VOL. Ill 1313 S

Z. 517 MOZART TO HIS SISTER i?84

oratorio for the Society l in Vienna and possibly I might
use bits of it here and there. Please give my greetings to
Gretl2 and tell her that perhaps I shall reply myself, but I
cannot promise to do so, for I fear that I may not be able
to keep my promise, as I am far too busy. As for the aria 3
she must exercise a little patience. But what I do advise
her to do, if she wants to have the aria soon and without
fail, is to choose a text which suits her and send it to me,
as it is impossible for me to find time to wade through all
sorts of operas. Well, I must close, as I have to go off at
once to give a lesson. My wife and I kiss you a thousand
times and ask you to kiss Papa's hands for us. We are ever
your sincere

W. A. C. MOZART

(517) Mozart to his Sister

[Autograph in the possession of the Historical Society of Pennsylvania}
MA TRES CHERE ScEUR! VIENNA, August l%tk, 1784

Potz Sapperment! It is high time I wrote to you if
I want my letter to find you still a vestal virgin! A few
days more and — it is gone! My wife and I wish you all
joy and happiness in your change of state and are only
heartily sorry that we cannot have the pleasure of being
present at your wedding. But we hope to embrace you as
Frau von Sonnenburg4 and your husband also next spring
both at Salzburg and at St. Gilgen. Our only regrets are
for our dear father, who will now be left so utterly alone!
True, you will not be far away from him and he can often

1 The Wiener Tonkiinstlersozietat.

2 Margarete Marchand. 3 There is no trace of this composition.
4 Nannerl Mozart was married on August 23rd, 1784, to Johann Baptist

von Berchtold zu Sonnenburg, magistrate at St. Gilgen, her mother's birth
place, and about six hours' drive from Salzburg. Her husband was a widower
with five children. He died in 1801, and Nannerl returned to Salzburg with
her son and stepchildren. For short studies of Nannerl Mozart see MMB,
November 1896, p. 98 ff., and Abert, vol. ii. p. 916 ff.

1784 MOZART TO HIS SISTER Z. 5x7

drive out and see you — but he is tied to that accursed
Kapellhaus again! If I were in his place, I should do as
follows: — Seeing that I have served the Archbishop for
so many years I should ask him to allow me to retire, and
then, on receiving my pension, I should go to my daughter
at St. Gilgen and live there in peace and quiet. If the
Archbishop refused my request, I should apply for my
discharge and join my son in Vienna. And what I chiefly
want to ask you is — to do your best to persuade him to
do this. I have suggested the same thing in my letter to
him to-day. And now I send you a thousand good wishes
from Vienna to Salzburg, and hope particularly that you
two will live together as harmoniously as — we two! So take
a little piece of advice from my poetical brainbox! Listen:

Wedlock will show you many things
Which still a mystery remain;
Experience soon will teach to you
What Eve herself once had to do
Before she could give birth to Cain.
But all these duties are so light
You will perform them with delight.
Yet no state is an unmixed joy
And marriage has its own alloy,
Lest us its bliss perchance should cloy.
So when your husband shows reserve
Or wrath which you do not deserve
And perhaps a nasty temper too,
Think, sister, 'tis a man's queer way.
Say: "Lord, thy will be done by day,
But mine at night you'll do".1
Your sincere brother

W. A. MOZART

1 Mr. C. B. Oldman has kindly pointed out the connection between the
concluding lines of Mozart's poem and a verse in Playford's Wit and Mirth;
or, Pills to Purge Melancholy, 3rd edition, 1707, vol. i. p. 150.

I3IS

Z. 518 LEOPOLD MOZART TO HIS DAUGHTER 1784

(518) Leopold Mozart to his Daughter l

[Extract] [Autograph in the Mozart eum, Salzburg]

SALZBURG, September iqth, 1784

My son has been very ill in Vienna. At a performance
of Paisiello's new opera2 he perspired so profusely that
his clothes were drenched and in the cold night air he
had to try to find his servant who had his overcoat, as
in the meantime an order had been given that no servant
was to be allowed into the theatre by the ordinary en
trance. So not only my son, but a number of other people
caught rheumatic fever, which became septic when not
taken in hand at once. My son writes as follows: "Four
days running at the very same hour I had a fearful attack
of colic, which ended each time in violent vomiting. I
have therefore to be extremely careful. My doctor is
Sigmund Barisani, who since his arrival in Vienna has
been almost daily at my rooms. People here praise him
very highly. He is very clever too and you will find that
in a short time he will make his way. When you write to
St. Gilgen, please send millions of kisses to our brother-
in-law and to my sister, etc."

1 After NannerFs marriage to Berchtold zu Sonnenburg at St. Gilgen,
Leopold Mozart wrote long letters to her about once a week, giving her a full
account of everything that was happening in Salzburg. Nearly all these letters,
which cover the years 1784-1787, that is, from NannerFs departure until Leo
pold Mozart's death, have been preserved and they have recently been edited
by Otto Erich Deutsch und Bernhard Paumgartner, Leopold Mozarts Brief e
an seine Tochter, Salzburg- Leipzig, 1936.

2 "II Re Teodoro in Venezia", which was performed on August 23rd,
1784.

1316

1784 LEOPOLD MOZART TO HIS DAUGHTER L. 520

(519) Leopold Mozart to his Daughter

[Extract} [Autograph in the Mozarteum, Salzburg}

SALZBURG, September ijtk, 1784

On the following day1 we had a big concert at Bari-
sani's, where your brother's new and excellent symphony2
was performed under my direction. There too the leading
actor, who knows Joseph Barisani, was introduced to me.
When he heard my name, he was beside himself with
delight. He is called Schmidt and is the Schmidt who
took the part of Pedrillo at the performance in Vienna of
the "Entfiihrung aus dem Serail".3 He therefore knows
your brother very well. There is thus every hope that
these people will give an excellent performance of your
brother's opera, as Schmidt himself took a part in Vienna
and later produced the opera in Prague4 more than a
dozen times. Moreover, Herr Brandl,5 that excellent
actor and singer, is in the company.

(520) Leopold Mozart to his Daughter

[Extract] [Autograph in the Mozarteum, Salzburg}

SALZBURG, November igtk, 1784

My son gave a small musical party on his name-day,6
at which his pupils performed and, what is more, Baron
Bagge from Paris amused the company by playing a
violin concerto. "We simply howled with laughter", my

1 September I5th. * K. 425, the "Linz" symphony.

3 Ludwig Schmidt, originally an operatic singer, was manager of a
theatrical company. He had taken the place of Dauer, the original Pedrillo
in the Vienna production of the "Entfiihrung aus dem Serail".

4 The "Entfiihrung aus dem Serail" was performed in Prague in 1783.

5 He was leading bass singer in the Salzburg company.

6 October 3ist.

1317

LEOPOLD MOZART TO HIS DAUGHTER

son writes, adding "I have received my sister's letter and
hope that in the meantime she has received mine". He
probably means the letter to me.

"Die Entfiihrung aus dem Serail" was performed fairly
well on the i/th with the greatest applause and three
numbers had to be repeated. At five o'clock there was no
more room in the lower part of the theatre and at a quarter
past five it was quite full up above. It is being performed
again on Sunday, the aist. After that it will probably be
dropped for five weeks. The whole town is delighted with
it. Even the Archbishop was gracious enough to say
"Really it wasn't at all bad". I hear that they took
191 gulden. The aria with the solo instruments1 was
performed by Stadler2 (violin, the part being an easy
one), Feiner (oboe), Reiner (flute) and Fiala ('cello) and
they played very well together. Herr Kassel, who had
been asked to play the flute, came to the first rehearsal.
But the following day he told Stadler that he would not
turn up any more, that they should get hold of someone
else, as he found rehearsing too boring. Everyone is very
much annoyed with him, even the nobles. On the other
hand Herr Fiala not only played, but even refused to
take a fee, saying that he was doing it to please Herr
Schmidt and particularly Herr Mozart.

(521) Leopold Mozart to his Daughter

[Extract] \Co$y in the Preussische Staatsbibliothek, Berlin]

SALZBURG, November [?2$th], 1784

The "Entfiihrung aus dem Serail" was performed here
again on Sunday with the greatest applause. Indeed the
opera is becoming such a favourite that the whole town

1 Constanze's aria "Martern aller Arten".
2 Matthias Stadler, a violinist in the Salzburg court orchestra.

1318

I7<$5 LEOPOLD MOZART TO HIS DAUGHTER Z. 522

praises it and calls it a very fine work. Michael Haydn
sat in the orchestra behind the clavier. Of course every
one asked him for his opinion and he said that all that
this opera needed was an orchestra of sixty to seventy
players and the necessary intermediate instruments, that
is, clarinets and a cor anglais, whose parts have to be
taken here by violas. Only then, he declared, could one
really hear what an excellent piece of work it was. He
was delighted beyond measure. Well, the opera is now to
have a rest until Christmas, when it will be performed
again twice. Blonde's duet with her Pedrillo and her aria
"Welche Wonne, welche Lust" were again repeated. The
drinking song in the second act "Vivat Bacchus! Bacchus
lebe!" had even to be sung three times. All who have
seen the opera in Vienna are unanimous in declaring that
the acting here is far better, more lively and more natural,
and the whole production more thorough than in Vienna.
This is the opinion too of the two Barons von Fechen-
bach, who saw the opera performed in Berlin, Mainz and
Mannheim.

(522) Leopold Mozart to his Daughter

[Extract] [Autograph in the Mozarteum, Salzburg\

SALZBURG, January 22nd, 1785

I have this moment received ten lines from your
brother, who says that his first subscription concert will
take place on Friday, February nth,1 and that he is to
give the remaining concerts on successive Fridays. He
adds that during the first week in Lent he will certainly

1 In a letter written from Munich, dated February 2nd, 1785, Leopold
Mozart adds: " Heinrich (Marchand) and I will probably leave for Vienna on
Carnival Sunday in Herr Marchand's carriage in order to be present at your
brother's concert on Friday, February nth, as I have had a letter from him
suggesting this. Herr Le Brun and his wife will follow us to Vienna on the 5th."

1319

Z. 523 LEOPOLD MOZART TO HIS DAUGHTER 1785

have a box for this concert in the theatre for Heinrich
and that I ought to come soon. He adds that last
Saturday he performed his six quartets1 for his dear
friend Haydn and other good friends, and that he has
sold them to Artaria for a hundred ducats.2 At the end
of his letter he says: "Now I must get on with the
composition of the concerto3 which I have just begun.
Adieu!"

(523) Leopold Mozart to his Daughter

[From Ludwig No hi, Neue Z^itschrift fur Musik, 1870, no. 40]

VIENNA, February 142^-16^, 1785

We arrived at the Schulerstrasse No. 846, first floor,4
at one o'clock on Friday. That your brother has very
fine quarters with all the necessary furniture you may
gather from the fact that his rent is 460 gulden* On the
same evening we drove to his first subscription concert,
at which a great many members of the aristocracy were
present. Each person pays a souverain d'or or three
ducats for these Lent concerts. Your brother is giving
them at the Mehlgrube and only pays half a souverain
d'or each time for the hall. The concert was magnificent
and the orchestra played splendidly. In addition to the
symphonies a female singer of the Italian theatre sang
two arias. Then we had a new and very fine concerto5
by Wolfgang, which the copyist was still copying when
we arrived, and the rondo of which your brother did not
even have time to play through, as he had to supervise

1 The six string quartets K. 387, 421, 458, 428, 464 and 465, which Mozart
dedicated to Joseph Haydn, were published by Artaria and Co. in October
1785. See p. 1261, n. 3.

2 Joseph Haydn. 3 K. 466, clavier concerto in D minor.

4 The Mozarts had moved early in October 1784 to these rooms, now
chulerstrasse no. 8.

5 K. 466, clavier concerto in D minor.

1320

1785 LEOPOLD MOZART TO HIS DAUGHTER L. 523

the copying. You can well imagine that I met many ac
quaintances there who all came up to speak to me. I was
also introduced to several other people.

On Saturday evening Herr Joseph Haydn1 and the
two Barons Tinti2 came to see us and the new quartets
were performed, or rather, the three new ones3 which
Wolfgang has added to the other three which we have
already. The new ones are somewhat easier, but at the
same time excellent compositions. Haydn said to me:
" Before God and as an honest man I tell you that your
son is the greatest composer known to me either in
person or by name. He has taste and, what is more, the
most profound knowledge of composition/'

On Sunday evening the Italian singer, Madame
Laschi,4 who is leaving for Italy, gave a concert in the
theatre, at which she sang two arias. A 'cello concerto
was performed, a tenor and a bass sang an aria each
and your brother played a glorious concerto,5 which he
composed for Mile Paradis6 for Paris. I was sitting only
two boxes away from the very beautiful Princess of
Wurtemberg7 and had the great pleasure of hearing so
clearly all the interplay of the instruments that for sheer
delight tears came into my eyes. When your brother left

1 On the previous day Haydn had joined the Freemasons' Lodge, "Zur
wahren Eintracht". Mozart had been a member of the Lodge "Zur Wohl-
tatigkeit" since December 1784, and his father joined both lodges on the
occasion of his visit to Vienna. See Otto Erich Deutsch, Mozart und die
Wiener Logen, Vienna, 1932.

2 They were members of the Masonic Lodge "Zur wahren Eintracht".

3 K. 458, 464 and 465.

4 Luisa Laschi made her first appearance in Vienna in 1784, and was the
original Countess in "Le Nozze di Figaro". In 1787 she married the tenor
Domenico Francesco Mombelli (i755~^3^)-

5 K. 456, in B&, finished on September 3Oth, 1784.

6 Maria Theresia von Paradis (1759-1824), a blind pianist of Vienna. In
1784 she had undertaken a grand tour of the European capitals*

7 Elizabeth (1767-1790), the eighth child of Duke Karl Eugen of Wurtem
berg. She was married in 1788 to the Archduke Francis of Austria.

1321

L. 524 LEOPOLD MOZART TO HIS DAUGHTER 1785

the platform the Emperor waved his hat and called out
"Bravo, Mozart!" And when he came on to play, there
was a great deal of clapping.

We were not at the theatre yesterday, for every day
there is a concert. This evening there is another one in
the theatre, at which your brother is again playing a
concerto. I shall bring back several of his new com
positions. Little Karl1 is the picture of him. He seems
very healthy, but now and then, of course, children have
trouble with their teeth. On the whole the child is charm
ing, for he is extremely friendly and laughs when spoken
to. I have only seen him cry once and the next moment
he started to laugh.

Yesterday, the I5th, there was again a recital in the
theatre given by a girl2 who sings charmingly. Your
brother played his new grand concerto in D minor3 most
magnificently. To-day we are going to a concert given at
the house of the Salzburg agent, Herr von Ployer.

Your brother, your sister-in-law, Marchand and I kiss
you millions of times and I am your faithful father

MOZART

(524) Leopold Mozart to his Daughter

{Extract} \Autograph in the Stadtarchiv, Augsburg]

VIENNA, Monday ', February 2ist—22nd, 1785

You will have received my first letter, I thought that I

had completely shaken off the cold I caught on my journey.

But yesterday evening I had pains in my left thigh and

1 Mozart's second child, Karl Thomas (1784-1858), who was born on
September 2ist, 1784.

2 Elizabeth Distler (1769-1789), operatic singer, who belonged to a large
family of Viennese musicians. She sang in the two performances of Mozart's
"Davidde penitente" on March I3th and I7th, 1785, given for the benefit
of the Tonkiinstlersozietat. 3 K. 466.

1322

1785 LEOPOLD MOZART TO HIS DAUGHTER L. 524

before going to bed I discovered that I really had rheuma
tism. So I drank some burr root tea in bed this morning
and did not get up until half past one, just in time for
lunch, at which I had the company of your sister-in-law's
youngest sister Sophie.1 She is still with me now at eight
o'clock in the evening, as your brother, his wife and
Heinrich lunched to-day with Herr von Trattner, an
invitation which unfortunately I had to refuse; and this
evening your brother is performing at a big concert at
Count Zichy's, at which Herr Le Brun and his wife are
appearing for the first time. But your sister-in-law and
Marchand have gone to the concert at Herr von Ployer's,
our agent. As usual, it will probably be one o'clock before
we get to bed. We lunched on Thursday, the I7th, with
your brother's mother-in-law, Frau Weber. There were
just the four of us, Frau Weber and her daughter Sophie,
as the eldest daughter2 is in Graz. I must tell you that
the meal, which was neither too lavish nor too stingy,
was cooked to perfection. The roast was a fine plump
pheasant; and everything was excellently well prepared.
We lunched on Friday, the i8th, with Stephanie junior,
just the four of us and Herr Le Brun, his wife, Karl
Cannabich and a priest. Let me tell you at once that there
was no thought of a fast-day. We were only offered meat
dishes. A pheasant as an additional dish was served in
cabbage and the rest was fit for a prince. Finally we had
oysters, most delicious glace fruits and (I must not forget
to mention this) several bottles of champagne. I need
hardly add that everywhere coffee is served. From
Stephanie's we drove to your brother's second concert at
the Mehlgrube at seven o'clock. This concert too was a

1 Sophie Weber (1767-1846) became in 1781 an actress at the Burgtheater
in Vienna. She married in 1806 the musician and composer Jakob Haibel
(1761-1826), and some time after his death went to live in Salzburg with her
elder sister Constanze Nissen, who was also a widow.

2 Josef a Weber.

1323

L. 525 LEOPOLD MOZART TO HIS DAUGHTER 1785

splendid success. Heinrich played a violin concerto.
Stephanie asked for you the moment he saw us and we
went on talking about the old days. Up to the present I
have never been offered any fast dishes. Yesterday, the
2oth, we were at a lunch given to twenty-one people by
Herr M tiller, the actor. It was a splendid affair, but not
exaggeratedly lavish. He must have a very large apart
ment, as he has eight children and pays a yearly rent of
seven hundred gulden. Herr Stephanie has a small
apartment, which costs him, however, five hundred gulden,
as it is in the Michaelerplatz close to the theatre. The two
concerts which Herr Le Brun and his wife are giving in
the theatre are on Wednesday, the 23rd, and Monday, the
28th. All the boxes for the first concert were sold out on
the 1 8th. These people are going to make an enormous
amount of money.

(525) Leopold Mozart to his Daughter

[Extract] [Autograph in the Bibliothek der Gesellschaft der

Micsikfreunde, Vienna}

VIENNA, March izth, 1785

Your brother made 559 gulden at his concert, which we
never expected, as he is giving six subscription concerts
at the Mehlgrube to over 150 people, each of whom pays
a souverain d'or for the six. Besides, as a favour he has
been playing frequently at other concerts in the theatre. As
for the clavier arrangement of the "Entfuhrung aus dem
Serail", all that I can tell you is that a certain Torricella1

1 Christoph Torricella, a music publisher in Vienna and a member of the
Masonic Lodge "Zur Bestandigkeit". In May 1784 he had opened in Cramer's
"Magazin der Musik" a subscription list for Mozart's clavier arrangement of
the "Entfiihrung aus dem Serail". The first act was engraved and Mozart
was at work on the second act, when another clavier arrangement of the whole
opera was published. See p. 1334.

1324

1785 MOZART TO PROFESSOR ANTON KLEIN Z. 526

is engraving it. Your brother is arranging it, but it isn't
quite finished yet. He may have only completed Act I.
I shall find out. Torricella has also engraved three sona
tas, only one of which has a violin accompaniment.1
Well, I shall buy everything that has been published.

We never get to bed before one o'clock and I never get
up before nine. We lunch at two or half past. The weather
is horrible. Every day there are concerts; and the whole
time is given up to teaching, music, composing and so
forth. I feel rather out of it all. If only the concerts were
over! It is impossible for me to describe the rush and
bustle. Since my arrival your brother's fortepiano has
been taken at least a dozen times to the theatre or to some
other house. He has had a large fortepiano pedal made,
which is under the instrument and is about two feet longer
and extremely heavy. It is taken to the Mehlgrube every
Friday and has also been taken to Count Zichy's and to
Prince Kaunitz's.2

(526) Mozart to Professor Anton Klein,, Mannheim 3

[Autografk in the possession of Stefan Zweig}

VIENNA, March 2ist, 1785

MOST HIGHLY ESTEEMED PRIVY COUNCILLOR!

It was very wrong of me, I must confess, not to have
informed you at once of the safe arrival of your letter and

1 K. 333, 284 and 454. See p. 1312, n. 7.

* Another letter from Leopold Mozart to his daughter sent from Vienna
and dated March iQth, 1785, contains this interesting statement: "If my son
has no debts to pay, I think that he can now lodge two thousand gulden in
the bank. Certainly the money is there, and so far as eating and drinking is
concerned, the housekeeping is extremely economical."

3 Professor Anton Klein (1748-1810), an ex-Jesuit, was a lecturer on
philosophy and aesthetics and a popular dramatist. He wrote the text of
Holzbauer's successful opera "Gunther von Schwarzburg" and in 1780 a
drama "Kaiser Rudolf von Habsburg", which he sent to Mozart with the
suggestion that the latter should set it to music.

1325

Z. 526 MOZART TO PROFESSOR ANTON KLEIN

the parcel which you sent along with it. You presume that
in the meantime I have received two more letters from
you; but this is not the case. The first would have
instantly aroused me from my slumber and I should have
replied, as I am now doing. No, I received last post-day
your two letters together. Well, I have already acknow
ledged my guilt in not replying immediately. But as for
the opera, I should have been able to say as little then as
I can now. Dear Privy Councillor! My hands are so full
that I scarcely ever find a minute I can call my own. A
man of such great insight and experience as yourself will
know even better than I that a libretto of this kind has to
be read through with all possible attention and delibera
tion, and not once only, but several times. So far I have not
had time to read it through even once without interruption.
All that I can say at the moment is that I should not like
to part with it yet. So I beg you to leave the play with me
for a little longer. If I should feel inclined to set it to
music, I should like to know beforehand whether its
production has actually been arranged for at a particular
place; for a work of this kind, from the point of view both
of the poetry and of the music, deserves a better fate than
to be composed to no purpose. I trust that you will clear
up this point.

At the moment I cannot send you any news about
the coming German operatic stage, as at present,
apart from the building operations at the Karntherthor
theatre, which has been set apart for this purpose, things
are progressing very slowly. They say that it is to be
opened early in October. I for my part have no great
hopes of its success. To judge by the preparations which
have been made up to the present, it looks as if they were
trying altogether to ruin German opera, which is probably
only suffering a temporary eclipse, rather than to help
to put it on its legs again and keep it going. My sister-in-

1326

MOZART TO PROFESSOR ANTON KLEIN L. 526

law Madame Lange is the only singer who is to join the
German opera. Madame Cavalieri, Adamberger, Mile
Teiber, all Germans of whom Germany may well be
proud, have to stay at the Italian opera — and compete
against their own countrymen! At present it is easy to
count up the German singers, male and female; and even
if there really are as good singers as the ones I have
mentioned, or even better ones, which I very much doubt,
yet I am inclined to think that the directors of our theatre
are too parsimonious and too little patriotically-minded
to offer large sums of money to strangers, when they have
on the spot better singers, or at least equally good ones,
whom they can rope in for nothing. For the Italian
company does not need them — so far as numbers go. The
company can fill all the parts themselves. The idea at
present is to carry on the German opera with actors and
actresses, who only sing when they must. Most unfortu
nately the directors of the theatre and those of the orchestra
have all been retained, and it is they who owing to their
ignorance and slackness are chiefly responsible for the
failure of their own enterprise. Were there but one good
patriot in charge — things would take a different turn. But
then, perhaps, the German national theatre which is
sprouting so vigorously would actually begin to flower;
and of course that would be an everlasting blot on
Germany, if we Germans were seriously to begin to think
as Germans, to act as Germans, to speak German and,
Heaven help us, to sing in German!!

Dear Privy Councillor, do not take it amiss if in my
zeal I have perhaps gone too far! Completely convinced
as I am that I am talking to a true German^ I have given
rein to my tongue, a thing which unfortunately is so
seldom possible in these days that after such an out
pouring of my heart I might boldly drink myself tipsy
without running the risk of endangering my health.

1327

L. 528 LEOPOLD MOZART TO HIS DAUGHTER 1785

I remain, with the deepest respect, most esteemed
Privy Councillor, your most obedient servant

W. A. MOZART
Vienna, March 2ist, 1785.

(527) Leopold Mozart to his Daughter

[Extract} [Copy in the Preussische Staatsbibliothek, Berlin\

VIENNA, March 2$tk-26tk, 1785

Well, I have twice heard Madame Lange sing five or
six arias at the clavier in her own house and this she did
most readily. That she sings with the greatest expression
cannot be denied. I had often questioned people about
her and I now understand why some said that she had a
very weak voice and others that she had a very power
ful one. Both statements are true. Her held notes and
those she emphasises are astonishingly loud, her tender
phrases, passages and grace notes and high notes are very
delicate, so that in my opinion there is too much dis
crepancy between the two renderings. In a room her loud
notes offend the ear and in a theatre her delicate passages
demand great silence and attention on the part of the
audience. I shall tell you more about this when we meet.
Madame Lange's husband is a fine painter. He did a
sketch of me yesterday evening on a sheet of red paper.1

(528) Leopold Mozart to his Daughter

[Extract} [Autograph in the Mozarteum, Salzburg]

VIENNA, April i6thy 1785

Baroness von Waldstadten is sending us her horses on
Tuesday and we are to drive out to see her at Kloster-

1 This sketch of Leopold Mozart has unfortunately been lost.
1328

JOSEF AND ALOYSIA LANGE (1785)

From an engraving by Daniel Berger after a drawing by Josef Lange
(Mozart Museum, Salzburg)

1785 MOZART TO JOSEPH HAYDN Z. 529

neuburg, her present headquarters, lunch with her and
return in the evening. I am very anxious to meet this
woman of my heart, since I, invisus, have been the man of
her heart.1

(529) Mozart to Joseph Haydn^ Eisenstadt

[Autograph in the possession of Frau Iselin-Merian, Basle\
VIENNA, September 1st, 1785

To my dear friend Haydn.

A father who had decided to send out his sons into the
great world, thought it his duty to entrust them to the pro
tection and guidance of a man who was very celebrated
at the time and who, moreover, happened to be his best
friend.

In like manner I send my six sons to you, most
celebrated and very dear friend. They are, indeed, the
fruit of a long and laborious study; but the hope which
many friends have given me that this toil will be in some
degree rewarded, encourages me and flatters me with the
thought that these children may one day prove a source
of consolation to me.

During your last stay in this capital you yourself, my
very dear friend, expressed to me your approval of these
compositions. Your good opinion encourages me to offer
them to you and leads me to hope that you will not
consider them wholly unworthy of your favour. Please
then receive them kindly and be to them a father, guide
and friend! From this moment I surrender to you all my
rights over them. I entreat you, however, to be indulgent
to those faults which may have escaped a father's partial
eye, and, in spite of them, to continue your generous

1 See p. 1223 f.

VOL. in 1329 T

Z. 550 LEOPOLD MOZART TO HIS DAUGHTER 1785

friendship towards one who so highly appreciates it.
Meanwhile I remain with all my heart, dearest friend,
your most sincere friend

W. A. MOZART l

Vienna, September ist, 1785.

(530) Leopold Mozart to his Daughter

\Extr acf\ \Autograph in the Mozarteum, Salzburg\

SALZBURG, September i6tA-ijt&t 1785
It will be four weeks to-morrow since I had a letter
from your brother. He is probably in the country. I do
hope that I shall have a letter to-morrow, as I have
written to him twice. Or perhaps he is going to come
himself?

I have this moment received a letter from your brother.
He says that he had already written, telling me the story
about Lang,2 which was made known to the public in the
Wiener C our ant. He adds that the Emperor said to your
sister-in-law: "What a difference it makes to have a good
husband!" Your brother has dedicated his quartets to
Herr Joseph Haydn with an Italian dedication.3 I am to
have them by the next mail coach. Your brother kisses
you and your husband most cordially. He says that I
ought to send Fiala to Vienna and that he will take him
at once to Count von Kufstein,4 so that he may obtain an
appointment without delay.

1 This dedication is in Italian. The six compositions are the string quartets
K. 387, 421, 458, 428, 464, 465, composed during the years 1782-1785 and
published with this dedication by Artaria and Co.

2 Possibly Josef Lange, the husband of Aloysia Weber, who was known to
be exceedingly jealous. 3 See p. 1329.

4 Johann Ferdinand, Count von Kufstein (1752-1818), was Court Coun
cillor in Vienna and an amateur violinist and composer. He was one of
Mozart's patrons, and in 1784 subscribed to his concerts.

1330

1785 LEOPOLD MOZART TO HIS DAUGHTER 1. 532
(531) Leopold Mozart to his Daughter

[Extract] {Atttograph in the Mozarteum, Salzburg]

SALZBURG, November yd—$tk) 1785

I haven't had a single line from your brother. His last
letter was dated September i4th and the quartets were
to have come by the next mail coach.1 If he were ill, Herr
Artaria would have informed me in his letter of September
28th. The journalist2 met me a few days ago and said: "It
is really astonishing to see what a number of compositions
your son is publishing.3 In all the announcements of
musical works I see nothing but Mozart. The Berlin
announcements, when quoting the quartets, only add the
following words: 'It is quite unnecessary to recommend
these quartets to the public. Suffice it to say that they are
the work of Herr Mozart/ " I had nothing to say as I
knew nothing, for it was more than six weeks since I had
had a letter from your brother. My informant said some
thing too about a new opera,4 Basta! I daresay we shall
hear about it.

(532) Leopold Mozart to his Daughter

[Extract] [Autograph in the Mozarteum, Salzburg]

SALZBURG, November nth, 1785

At last I have received a letter of twelve lines from your
brother, dated November 2nd. He begs to be forgiven,
as he is up to the eyes in work at his opera "Le Nozze di

1 See p. 1330.

2 Professor Lorenz Hiibner of Munich, who since the previous year had
been editor of the Salzburger Zeifung, later Oberdeutsche Staatszeitung.

3 Artaria and Co. had published in 1785 the symphonies K. 385 and 319,
the six quartets dedicated to Haydn, the three clavier concertos K. 413-415,
the fantasia and sonata for clavier K. 475 and 457, while Torricella and
Hoffmeister had printed a few minor works. 4 "Le Nozze di Figaro."

1331

L. 533 MOZART TO FRANZ ANTON HOFFMEISTER 1785

Figaro". He thanks me and both of you for our good
wishes and asks me particularly to make his excuses to
you and to tell you with his love that he hasn't time to
answer your letter at once. He adds that in order to keep
the morning free for composing, he is now taking all his
pupils in the afternoon, etc. I know the piece; it is a very
tiresome play and the translation from the French will
certainly have to be altered very freely, if it is to be
effective as an opera.1 God grant that the text may be a
success. I have no doubt about the music. But there will
be a lot of running about and discussions, before he gets
the libretto so adjusted as to suit his purpose exactly.
And no doubt according to his charming habit he has
kept on postponing matters and has let the time slip by.
So now he must set to work seriously, as Count Rosenberg
is prodding him.

(533) Mozart to Fran^ Anton Hoffmeister2

[Autograph in the Bibliothek der Gese Use haft der Musikfreunde, Vienna}

MY DEAR HOFFMEISTER! VIENNA, November 2ot&, 1785
I turn to you in my distress and beg you to help me
out with some money, which I need very badly at the
moment. Further, I entreat you to endeavour to procure
for me as soon as possible the thing you know about.
Forgive me for constantly worrying you, but as you
know me and are aware how anxious I am that your
business should succeed, I am convinced that you will not

1 Beaumarchais' comedy "Le manage de Figaro, oil La folle journee" was
first produced in Paris on April 27th, 1784, and was repeated sixty-eight
times.^Two German translations by Johann Rautenstrauch and Johann
Friedrich Unger were printed immediately, although the play itself was
forbidden in Vienna. Da Ponte used Beaumarchais' comedy as the basis for
his libretto.

2 Franz Anton Hoffmeister (1754-1812), composer and music publisher.
No doubt this request refers to his publication of Mozart's piano quartet
K. 478. Hoffmeister noted on the envelope, "two ducats".

1332

1785 LEOPOLD MOZART TO HIS DAUGHTER £.534

misconstrue my importunity and that you will help me as
readily as I shall help you.

MZT.
November 2oth, 1785.

(534) Leopold Mozart to his Daughter

\_Extr acf\ {Autograph in the Mozarteum, Salzburg}

SALZBURG, December 2nd— $rd, 1785

At last the messenger brought me yesterday from the
mail coach a carefully packed parcel containing the six
quartets r and three scores, that is, a quartet for piano,
violin, viola and 'cello obbligato2 and the two grand new
piano concertos.3 The piano quartet was only finished
on October i6th and your brother has sent me printed
copies of the violin and viola parts, which have already
been engraved. I was feeling horribly bored. Fortunately
young Preymann4 turned up at five o'clock and, although
my eyes were rather tired as I had been writing during the
morning and the afternoon an exceptionally long letter to
Marchand which I had just taken to the post, yet it was re
freshing to work carefully through three of the new quartets
with Preymann as I did until eight o'clock. We can now
perform them some time, as I shall coach two people in the

1 The quartets dedicated to Haydn. See p. 1330, n. i.

2 K. 478, piano quartet in G minor, composed in 1785 and published by
Franz Anton Hoffmeister.

3 K. 466 in D minor and K. 467 in C major, both composed in 1785, In a
letter of January I4th, 1786, Leopold Mozart makes the following interesting
remarks about the concerto in C major: "Indeed the new concerto is astonish
ingly difficult. But I very much doubt whether there are any mistakes, as the
copyist has checked it. Several passages simply do not harmonise unless one
hears all the instruments playing together. But of course it is quite possible
that the copyist may have read a $ for a b in the score or something of the
kind, for indeed it is not quite right. I shall get to the bottom of it all when
I see the original score."

4 Anton Preymann (1762-1 841), a violinist in the Salzburg court orchestra,
who subsequently joined Prince Liechtenstein's orchestra in Vienna and
frequently performed at the Burgtheater,

1333

LEOPOLD MOZART TO HIS DAUGHTER i>jS6

second violin and 'cello parts and play the viola myself.
The copyist at the moment has enough to copy and it will
be slow work. I am letting him do the clavier parts first of
all, for the concertos will require a great deal of practice.

(535) Leopold Mozart to his Daughter

{Extract] [Autograph in the Mozarteum, Salzburg]

SALZBURG, December i6th, 1785

Well, what I told my son long ago has now happened,
and a clavier arrangement of the "Entfuhrung" has been
published by the Augsburg bookseller Stage at the price
of seven gulden and I forget how many kreutzer. Canon
Stark has arranged it for the clavier. It has been engraved
at Mainz and has been trumpeted forth in the Augsburg
papers with many laudatory remarks about the famous
Herr von Mozart.1 If Torricella has already engraved a
large portion of your brother's own arrangement, he will
lose considerably.2 And your brother will have wasted his
time arranging two acts, which, I think, he had already
finished.

(536) Leopold Mozart to his Daughter

[Extract] \Autograph in the Mozarteum, Salzburg]

SALZBURG, January i^th, 1786

I received a command from the Archbishop to write to
your brother about Andre, who is living with him. So is
Fiala. If Andre will undertake to serve the Archbishop
for fifteen gulden a month, he will be appointed. Another
nice commission for me! I wrote at once. Meanwhile to
two letters of mine I have had only one reply from your
brother, dated December 28th, in which he said that he

1 This unauthorised clavier arrangement of Mozart's opera by the Mainz
choirmaster Stark was published there by Schott. Evidently the Augsburg-
bookseller Stage was selling copies.

2 Torricella had already engraved the first act of Mozart's arrangement.

1334

1786 LEOPOLD MOZART TO HIS DAUGHTER L. 538

gave without much preparation three subscription concerts
to 1 20 subscribers, that he composed for this purpose a new
piano concerto in E^,1 in which (a rather unusual occur
rence!) he had to repeat the Andante, and that he had taken
Fiala in at once. He did not mention Andre, but Norman2
wrote about this to BrunettL Your brother added that he
had already made three separate attempts to find some
means by which Fiala might earn a living and that he
would send me by the mail coach a new clavier sonata.3

(537) Leopold Mozart to his Daughter

[Extract} [Autograph in. the British Museum}

MUNICH, February [?i6/A], 1786

I really think that Heinrich must have practised
extremely hard, for you will be surprised when you hear
him play your brother's Fantasia and Sonata,4 which I
sent you and which he too possesses, and also dementi's
sonatas. He played them on Herr von Hofstetter's5
fortepiano so excellently that I was thrilled*

(538) Leopold Mozart to his Daughter

[Extract} \Autograph in the Mozarteum, Salzburg]

SALZBURG, March 23^-24^, 1786

We had our concert yesterday. Marchand 6 performed
the concerto in D minor,7 which I sent to you the other

1 K. 482.

2 Norman is mentioned in a letter from Leopold Mozart to his daughter
of August 3Oth, 1784 (see Deutsch-Paumgartner, Leopold Mozarts Brief e
an seine Tochter, 1936, p. 7), as the new fiddler who had performed before
the Archbishop. Evidently Norman had moved on to Vienna.

3 K. 457, sonata in C minor, and the fantasia in the same key, K. 475,
which Mozart composed for his pupil Frau von Trattner, and which were
published in December 1785 by Artaria and Co.

4 K. 475 and 457. 5 An amateur musician and copyist of Salzburg.
6 Heinrich Marchand, Leopold Mozart's pupil, who was not only a good

violinist but also an excellent clavierist. 7 K. 466.

1335

L. 539 LEOPOLD MOZART TO HIS DAUGHTER 1786

day. As you have the clavier part, he played it from the
score and Haydn1 turned over the pages for him and at
the same time had the pleasure of seeing with what art it
is composed, how delightfully the parts are interwoven
and what a difficult concerto it is. I chose this one, as you
have the clavier parts of all the others and I still possessed
the score of this one. We rehearsed it in the morning and
had to practise the rondo three times before the orchestra
could manage it, as Marchand took it rather quickly. This
time too there was a great crowd and all the Ecclesiastical
Councillors and University Professors were present.
Madame Schlauka2 made a good deal of money, for
during the interval the members of the orchestra have a
rest and come down into the hall, where the majority
hasten to take some refreshments, which are very daintily
and liberally served. In short, the Emperor might have
been there. The Archbishop remained until nine o'clock.

(539) Leopold Mozart to his Daughter

[Extract} [From Otto Jahn, W. A. Mozart, voL iv. f. 189]

SALZBURG, April \}z$tk}, 1786

"Le Nozze di Figaro" is being performed on the 28th
for the first time.3 It will be surprising if it is a success,
for I know that very powerful cabals have ranged them
selves against your brother. Salieri and all his supporters
will again try to move heaven and earth to down his
opera. Duschek told me recently that it is on account of
the very great reputation which your brother's exceptional
talent and ability have won for him that so many people
are plotting against him.

1 Michael Haydn. 2 The wife of one of the Archbishop's valets.

3 The first performance of "Le Nozze di Figaro" took place on May ist
1786.

1336

MOZART TO SEBASTIAN WINTER L. 540

(540) Mozart to Sebastian Winter , Donaueschingen

[Autograph in the Furstlich Furstenbergische Hofbibliotkek,

Donaueschingen]

VIENNA, August %th, 1786
DEAREST FRIEND! COMPANION OF MY YOUTH!

I was particularly delighted to receive your letter and
nothing but business which could not be postponed has
prevented me from replying sooner. I am very glad that
you have applied to me in person. I should long ago have
sent some specimens of my poor work to your highly
respected Prince1 (to whom I beg you to convey my
homage and my thanks for the present he has sent me),
if I had known whether or not my father had already sent
him something and, if so, what he had sent. I am therefore
jotting down at the end of my letter a list of my latest
compositions from which His Highness has only to
choose, so that I may hasten to serve him. If His High
ness should so desire, I shall send him in future all the
new works which I compose. Further, I venture to make
a little musical offer to His Highness which I beg you,
my friend, to put before him. As His Highness possesses
an orchestra, he might like to have works composed by
me for performance solely at his court, a thing which in
my humble opinion would be very gratifying. If His
Highness would be so gracious as to order from me every
year a certain number of symphonies, quartets, concertos
for different instruments, or any other compositions which
he fancies, and to promise me a fixed yearly salary, then
His Highness would be served more quickly and more
satisfactorily, and I, being sure of that commission, should
work with greater peace of mind. I do trust that His
Highness will not take my proposal amiss, if it does not

1 Josef Wenzeslaus, Prince von Fiirstenberg, who in 1764 had taken into
his household Sebastian Winter, the Mozarts* valet and friseur.

1337

L. 540 MOZART TO SEBASTIAN WINTER 1786

suit him, for it is prompted indeed by an impulse of
genuine anxiety to serve His Highness diligently, which
in such a situation as mine is only possible if one can be
sure of at least some support and can afford to give up
less important tasks.

Awaiting an early reply with the order from your most
worthy Prince, I ever remain your true friend and servant

WOLFGANG AMADE MOZART
Vienna, August 8th, 1786.

SINFONIE '

Adagio.

di WOLFGANGO AMADEO MOZART

3E3

CONCERTI PER CEMBALO2

piano

1 K- 425 (1783), K. 385 (1782), K. 319 (1779), K. 338 (1780).
2 K. 453 (1784), K. 456(1784), K. 451 (1784), K. 459 (1784), K. 488 (1786).

1338

MOZART TO SEBASTIAN WINTER

L. 540

piano

SONATA PER CEMBALO CON VIOLINO1
TERZETTO: CEMBALO, VIOLINO E VIOLONCELLO

Ma j^ii«i / ^lir ifff irri*

QUARTETTO: CEMBALO, VIOLINO, VIOLA
E VIOLONCELLO3

1 K. 481 (1785). 2 K. 496 (1786).

3 K. 478 (1785). The incipits of all these works are given exactly as they
appear in the autograph of the letter. In some cases they differ from the
generally accepted versions.

1339

Z. 541 MOZART TO SEBASTIAN WINTER 1786

(541) Mozart to Sebastian Winter^ Donaueschingen

[Autograph in the Furstliche Fiirstenbergische Hofbibliothek,

Donaueschingeri\

DEAREST FRIEND! VIENNA, September $otky 1786

The music you asked for is being sent off to-morrow
by the mail coach,1 You will find at the end of this letter
the amount due to me for the copies. It is quite natural
that some of my compositions should be sent abroad, but
those which I do send are deliberately chosen. I only sent
you the themes, because it is quite possible that these
works have not reached you. But the compositions which
I keep for myself or for a small circle of music-lovers and
connoisseurs (who promise not to let them out of their
hands) cannot possibly be known elsewhere, as they are
not even known in Vienna. And this is the case with the
three concertos which I have the honour of sending to
His Highness. But here I have been obliged to add to the
cost of copying a small additional fee of six ducats for each
concerto; and I must ask His Highness not to let them out
of his hands. There are two clarinets in the A major
concerto.2 Should His Highness not have any clarinets at
his court, a competent copyist might transpose the parts
into the suitable keys, in which case the first part should
be played by a violin and the second by a viola. As for
the offer which I took the liberty of making to your
worthy Prince, I should have to be exactly informed, first
of all, as to what kinds of composition His Highness might
require or prefer and, secondly, as to how many of each
kind he would like to have every year, in order to be able
to make my calculations. I wish to offer my homage to
His Highness, and I request you to make known to him
my desire. And now, dearest friend! Companion of my

1 The Prince had ordered three symphonies, K. 425, 319, 338, and three
clavier concertos, K. 451, 459 and 488. 2 K. 488.

1340

1786 MOZART TO SEBASTIAN WINTER L. 541

youth! As I have often been in Rickan1 during these
many years and yet have never had the pleasure of
meeting you, my dearest wish indeed would be that you
should visit me in Vienna or that I should visit you at
Donaueschingen. The latter I should almost prefer, for in
addition to the pleasure of embracing you I should have
the privilege of paying my respects to your most gracious
Prince, and I should be more forcibly reminded of the
many favours which in my younger years I enjoyed at
his court, favours which I shall never forget as long as
I live. Awaiting an early reply and in the flattering hope
of meeting you once more in this world, I am ever your
most devoted friend and servant

WOLFGANG AMADE MOZART

Vienna, September 3Oth, 1786.

Account Gulden Kreutzer

Three concertos without the piano parts

109 sheets @ 8 kreutzer 14 32

Three piano parts

33! sheets @ 10 kreutzer 5 35

Fee for the three concertos

1 8 ducats @ 4 gulden, 30 kreutzer 81
Three symphonies

n6f sheets @ 8 kreutzer 15 32

Customs fee and postage 3

TOTAL 119 392

1 This is the word in the autograph. It mayJiave some connection with
an anecdote which Mozart's sister sent in November 1799 to Breitkopf and
Hartel (see Nottebohm, p. 137, n. ij, describing how during their early
travels her brother imagined a Kingdom called Riicken, of which he was to
be King and for which their servant, Sebastian Winter, had to sketch a map.

2 The autograph has a note by Sebastian Winter, stating that the letter
was received on October nth, the music on October I4th, and that the sum
of 143^ gulden was sent to Mozart on November 8th,

1341

Z. 542 LEOPOLD MOZART TO HIS DAUGHTER 1786

(542) Leopold Mozart to his Daughter

{Extract] \Autograph in the Mozarteum, Salzburg]

SALZBURG, November ijtk-i^tk, 1786
I had to reply to-day to a letter from your brother, and
this took me a considerable time. So I cannot write very
much to you. Moreover it is late and I want to go to the
play to-day, as I have a free pass and have finished that
letter to Vienna. You can easily imagine that I had to
express myself very emphatically, as your brother actu
ally suggested that I should take charge of his two
children,1 because he was proposing to undertake a
journey through Germany to England in the middle of
next carnival. I wrote therefore very fully and added
that I would send him the continuation of my letter by
the next post. Herr M filler, that good and honest maker
of silhouettes,2 had said a lot of nice things about little
Leopold3 to your brother, who heard in this way that
the child is living with me. I had never told your brother.
So that is how the brilliant idea occurred to him or per
haps to his wife. Not at all a bad arrangement! They
could go off and travel — they might even die — or remain
in England — and I should have to run off after them with
the children. As for the payment which he offers me for the
children and for maids to look after them, well — Basta!
If he cares to do so, he will find my excuse very clear
and instructive.

1 Karl Thomas, born on September 2ist, 1784, and Johann Thomas
Leopold, born on October i8th, 1786. The latter died on November isth
1786. '

2 Possibly Franz XaverMuller (1756-1837), a well-known copper-engraver
in Vienna.

3 Leopold Mozart had taken entire charge of Nannerl's son Leopold, who
was born at Salzburg in June 1785.

1342

1787 MOZART TO GOTTFRIED VON JACQUIN L. 544
(543) Leopold Mozart to his Daughter

[Extract} [Autograph in the Mozarteum, Salzburg}

SALZBURG, January I2th> 1787

Your brother and his wife must be in Prague by this
time, for he wrote to say that he was leaving Vienna
last Monday.1 His opera "Le Nozze di Figaro" was
performed there with such success that the orchestra and
a company of distinguished connoisseurs and lovers of
music sent him letters inviting him to Prague and also a
poem which was composed in his honour.2 I heard this
from your brother, and Count Starhemberg heard about
it from Prague. I shall send you the poem by the next
courier. Madame Duschek is off to Berlin. I am still
receiving from Vienna, Prague and Munich reports
which confirm the rumour that your brother is going to
England.

(544) Mozart to Baron Gottfried von Jacquin*
Vienna

[Copy in the Preussische Staatsbibliotkek, Berlin^

DEAREST FRIEND! PRAGUE, January i^th, 1787

At last I have found a moment to write to you. I
resolved immediately after my arrival to write four letters
to Vienna, but in vain! I was only able to manage one
(to my mother-in-law) and then only half of it. My wife

1 Mozart and his wife arrived in Prague on January nth, 1787.

3 "Le Nozze di Figaro" had been frequently performed in Prague since
December 1786 by Pasquale Bondings theatrical company with Johann
Josef Strobach as conductor. The poem composed in honour of Mozart by
A. D. Breicha is quoted in R. Prochizka, Mozart in Pragt 1892, p. 28.

3 Gottfried von Jacquin (1763-1792) was the second son of the famous
botanist, Professor Nicolaus Josef, Baron von Jacquin (1727-1817). He and
his sister Franziska (1769-1853) were pupils of Mozart.

1343

L. 544 MOZART TO GOTTFRIED VON JACQUIN 1787

and Hofer1 had to finish it. Immediately after our
arrival at noon on Thursday, the nth, we had a dreadful
rush to get ready for lunch at one o'clock. After the meal
old Count Thun2 entertained us with some music, per
formed by his own people, which lasted about an hour
and a half. This kind of real entertainment I could enjoy
every day. At six o'clock I drove with Count Canal 3 to
the so-called Bretfeld4 ball, where the cream of the
beauties of Prague are wont to gather. Why — you ought
to have been there, my friend! I fancy I see you running,
or rather, limping after all those pretty women, married
and unmarried! I neither danced nor flirted with any of
them, the former, because I was too tired, and the latter
owing to my natural bashfulness. I looked on, however, with
the greatest pleasure while all these people flew about in
sheer delight to the music of my "Figaro", arranged for
quadrilles and waltzes. For here they talk about nothing
but "Figaro". Nothing is played, sung or whistled but
"Figaro". No opera is drawing like "Figaro". Nothing,
nothing but "Figaro". Certainly a great honour for me!
Well, to return to my order of the day. As I got home
very late from the ball and moreover was tired and sleepy
after my journey, nothing in the world could be more
natural than that I should sleep it out next morning;
which was just what I did. So the whole of the next
morning was spent sine linea. After lunch the Count's
music must always be listened to, and as on that very day
an excellent pianoforte had been put in my room, you
may readily suppose that I did not leave it unused and

1 Franz de Paula Hofer (1755-1796), court violinist in Vienna. He married,
in July 1788, Frau Weber's eldest daughter Josefa.

z As Madame Duschek was in Berlin, the Mozarts stayed with Count Thun.

3 Josef Emanuel, Count Canal von Malabaila (1745-1826), botanist and
lover of music, lived in Prague and had a private orchestra.

4 Baron Bretfeld, a wealthy member of the Bohemian aristocracy, gave
famous balls.

1344

EMANUEL SCHIKAXEDER

From an engraving by Loschenkohl

(Gesellschaft der Musikfreunde, Vienna J

MOZART TO GOTTFRIED VON JACQUIN Z. 544

untouched for the whole evening; so as a matter of course
we performed amongst ourselves a little Quatuor in
caritatis camera1 ("und das schone Bandl hamrnera")2
and in this way the whole evening was again spent sine
linea\ and so it actually was. Well, you must scold not me
but Morpheus, for that deity is very attentive to us in
Prague. What the cause may have been I know not; at
any rate we slept it out. Still, we managed to be at Father
Unger's at eleven o'clock and made a thorough inspec
tion of the Imperial Library and the General Theo
logical Seminary. When we had almost stared our eyes
out, we thought that we heard a little stomach-aria in
our insides and that it would be just as well to drive to
Count Canal's for lunch. The evening surprised us sooner
than you might perhaps believe. Well, it was soon time
to go to the opera. We heard "Le gare generose".3 In
regard to the performance of this opera I can give no
definite opinion because I talked a lot; but that quite
contrary to my usual custom I chattered so much may
have been due to ... Well, never mind! that evening
too was frittered away al solito. To-day I have at last
been so fortunate as to find a moment to enquire after
the health of your dear parents and the whole Jacquin
family. I hope and trust with all my heart that you are
all as well as we are. I must frankly admit that, although
I meet with all possible courtesies and honours here and

1 We performed a little quartet for ourselves.

3 K. 441 , called the Bandl-Terzett, a humorous three-part song for soprano,
tenor and bass, which Mozart composed in 1783, and dedicated to Gottfried
von Jacquin. Mozart and his wife and Jacquin were out walking one day
when Constanze happened to lose a ribbon which her husband had given her
and exclaimed, using the Viennese dialect: "Liebes Mandl, wo is's Bandl?"
Jacquin, a tall fellow, picked up the ribbon and refused to let her have it until
she or her little husband should catch it. Upon which Mozart wrote the poem
which he afterwards set to music. "Und das schone Bandl hammera" means
"und das schone Bandchen haben wir auch". See Jahn, vol. ii. p. 58.

3 Giovanni Paisiello's "Le gare generose" was first produced at Naples
in 1786.

VOL. Ill I34S U

L. 544 MOZART TO GOTTFRIED VON JACQUIN 1787

although Prague is indeed a very beautiful and pleasant
place, I long most ardently to be back in Vienna; and
believe me, the chief cause of this homesickness is cer
tainly your family. When I remember that after my return
I shall enjoy only for a short while the pleasure of your
valued society and shall then have to forgo this happi
ness for such a long time, perhaps for ever, then indeed
I realise the extent of the friendship and regard which I
cherish for your whole family.1 Now farewell, dearest
friend, dearest Hikkiti Horky! That is your name, as you
must know. We all invented names for ourselves on the
journey. Here they are. I am Punkitititi. My wife is
Schabla Pumfa. Hofer is Rozka Pumpa. Stadler2 is
Notschibikitschibi. My servant Joseph is Sagadarata.
My dog Goukerl is Schomanntzky. Madame Quallen-
berg is Runzifunzi. Mile Crux3 is Ramlo Schurimuri.
Freistadtler4 is Gaulimauli. Be so kind as to tell him
his name. Well, adieu. My concert is to take place in
the theatre on Friday, the igth, and I shall probably
have to give a second one, which unfortunately will
prolong my stay here. Please give my kind regards to
your worthy parents and embrace your brother (who
by the way could be christened Blatterrizzi) a thousand
times for me; and I kiss your sister's hands (her name is
Signora Dini Mini Niri) a hundred thousand times and
urge her to practise hard on her new pianoforte.5 But this

1 Mozart was planning to go to England. See p. 1342.

2 Anton Stadler. See p. 409, n. 2.

3 Marianne, daughter of Peter Crux, master of the ballet at the Vienna
opera. She was a singer and also a successful performer on the violin and
clavier.

4 Franz Jakob Freistadtler (1768-1841), a pupil of Mozart, who composed
for him K. 232, a canon for four voices on the words "Lieber Freistadtler,
lieber Gaulimauli". Dr. A. Einstein has kindly supplied the interesting
information that Freistadtler composed songs, a collection of which he
dedicated to Josephine Aurnhammer.

5 Gottfried von Jacquin's sister Franziska was one of Mozart's pupils.

LEOPOLD MOZART TO HIS DAUGHTER L. 545

admonition is really unnecessary, for I must confess that
I have never yet had a pupil who was so diligent and who
showed so much zeal — and indeed I am looking forward
to giving her lessons again according to my small ability.
A propos. If she wants to come to-morrow, I shall cer
tainly be at home at eleven o'clock. But surely it is high
time to close, is it not? You will have been thinking so
for a long time. Farewell, beloved friend! Keep me in
your precious friendship. Write to me soon — very very
soon — and if perchance you are too lazy to do so, send
for Satmann and dictate a letter to him, though indeed
no letter comes as much from the heart as it does when
one writes oneself. Well, I shall see whether you are as
truly my friend as I am entirely yours and ever shall be.

MOZART

P.S. — Address the letter which you will possibly write
to me "At Count Thun's palace".

My wife sends her love to the whole Jacquin family,
and so does Hofer.

P.S. — On Wednesday I am to see and hear " Figaro'7
in Prague, if I have not become deaf and blind before
then. Possibly I may not become so until after the
opera.1

(545) Leopold Mozart to his Daughter

[Extract] [Autograph in the Mozarteum, Salzburg}

SALZBURG, March ist-2nd, 1787

At half past six o'clock on Monday evening I received
from Madame Storace, the Vienna opera singer, a note
saying that she had arrived at the Trinkstube. I found
her mother with her, who is an Englishwoman (the

1 For an excellent account of Mozart's four visits to Prague in 1787, 1789
and 1791, see R. Prochazka, Mozart in Prag, 1892.

1347

Z. 545 LEOPOLD MOZART TO HIS DAUGHTER 17*7

daughter was born in England), the Vienna opera tenor
O'Kelly,1 who is an Englishman by birth, another
Englishman whom I did not know but who is probably
cicisbeo to the mother and daughter, her brother, Maestro
Storace,2 and a little Englishman called Attwood,3 who
was sent to Vienna two years ago for the sole purpose of
taking lessons from your brother. As Madame Storace
had a letter of introduction from Countess Guntacker
Colloredo, the Archbishop was obliged to hear her sing
and to give her a handsome present. After a year's stay
in London she is returning to the Vienna opera.4 I
galloped round the town with them on Tuesday from
ten to two in order to show them a few sights. We lunched
at two o'clock, In the evening she sang three arias and
they left for Munich at midnight. They had two carriages,
each with four post-horses. A servant rode in advance as
courier to arrange for the changing of eight horses.
Goodness, what luggage they had! This journey must
have cost them a fortune. They all spoke English, far
more than Italian. A funny thing is that my son sent a
letter for me to the house where his pupil Attwood was
staying. Attwood had gone out and Madame Storace's
mother took the letter and was stupid enough to pack it

1 Michael Kelly (1762-1826), who in Mozart's catalogue of his own works
appears as "Occhelly", was born in Dublin. He went to Naples in 1779 to be
trained as an operatic tenor, and four years later came to Vienna where he
enjoyed the intimate friendship of Mozart. Kelly took the parts of Basilic and
Don Curzio in the first performance of "Le Nozze di Figaro". He also com
posed songs which were popular. His Reminiscences in two volumes, written
by Theodore Hook with the help of material supplied by Kelly, appeared in
1826. They contain accounts of Mozart which are both interesting and
important.

2 Stephen Storace (1763-1796) had composed two operas in Vienna.

3 Thomas Attwood (1765-1838) first studied music at Naples from 1783
until 1785, and then went to Vienna to learn composition under Mozart. His
exercise books are now in the possession of Mr. C. B. Oldman. In 1796 he
was appointed organist of St. Paul's Cathedral. In later life Attwood wrote
many successful operas and became a close friend of Mendelssohn.

4 Nancy Storace never returned to Vienna.

1348

Ij8j MOZART TO HIS FATHER Z.

in some trunk or maybe to lose it. Basta! the letter was
not to be found. I shall write to your brother about it
to-morrow. As for your brother I hear that he is back in
Vienna. I had no reply to the letter I sent to him at
Prague. The English company told me that he made a
thousand gulden there, that little Leopold, his last boy,
has died,1 and that, as I had gathered, he wants to travel
to England, but that his pupil2 is first going to procure a
definite engagement for him in London, I mean, a con
tract to compose an opera, or a subscription concert, etc.
Probably Madame Storace and the whole company had
filled him with stories to the same effect and these people
and his pupil must have first given him the idea of
accompanying them to England. But no doubt after I
sent him a fatherly letter, saying that he would gain
nothing by a journey in summer, as he would arrive in
England at the wrong time, that he ought to have at
least two thousand gulden in his pocket before under
taking such an expedition, and finally that, unless he had
procured in advance some definite engagement in Lon
don, he would have to be prepared, no matter how clever
he was, to be hard up at first at any rate, he has probably
lost courage, particularly as Madame Storace's brother
will of course write the opera for the next season.3

(546) Mozart to his Father

[Autograph formerly in the Musikhistorisches Museum

von W. Heyer, Cologne]

MON TRES CHER PERE! VIENNA, April $th, 1787

I am very much annoyed that owing to the stupidity
of Madame Storace my letter never reached you. Amongst

1 Mozart's third child, Johann Thomas Leopold, died on November 15th,
1786. 2 Thomas Attwood.

3 Stephen Sto race's "La cameriera astuta" was performed on March
4thr 1788, at the King's Theatre in the Haymarket.

1349

L. 546 MOZART TO HIS FATHER

other things it contained, I expressed the hope that you
had received my last letter; but as you do not mention
this particular one, I mean, my second letter from Prague,
I do not know what to think. It is quite likely that som'e
servant of Count Thun's l had the brilliant idea of pocket
ing the postage money. Indeed I would rather pay double
postage than suspect that my letters have fallen into the
wrong hands. Ramm and the two Fischers, the bass
singer2 and the oboist from London,3 came here this
Lent. If the latter when we knew him in Holland4
played no better than he does now, he certainly does not
deserve the reputation he enjoys. But this is between our-
selves. In those days I was not competent to form an
opinion. All that I remember is that I liked his playing
immensely, as indeed everyone did. This is quite under
standable, of course, on the assumption that taste can
undergo remarkable changes. Possibly he plays in some
old-fashioned style? Not at all! The long and short of it
is that he plays like a bad beginner. Young Andre, who
took some lessons from Fiala, plays a thousand times
better. And then his concertos! His own compositions!
Why, each ritornello lasts a quarter of an hour; and then
our hero comes in, lifts up one leaden foot after the other
and stamps on the floor with each in turn. His tone is
entirely nasal, and his held notes like the tremulant on
the organ. Would you ever have thought that his playing

1 The Mozarts during their stay in Prague were the guests of Count Thun.
See p. 1344.

2 Karl Ludwig Fischer (1745-1825), who took the part of Osmin in the
original production of the "Entfiihrung aus dem Serail".

3 Johann Christian Fischer (1733-1800), a famous oboist in his day. He
held an appointment at the Dresden court from 1764 until 1771, and then
more or less settled in London, where he was a frequent performer at the
Bach- Abel concerts. He married the daughter of Gainsborough, who painted
his portrait. It was on his minuet that Mozart composed in 1774 his popular
Fischer variations (K. 179).

4 The Mozart family met J. C. Fischer at The Hague in 1765. See Leopold
Mozart's Reiseaufzeichnungen, p. 42.

1350

1787 MOZART TO HIS FATHER L. 546

is like this? Yet it is nothing but the truth, though a
truth which I should only tell to you.

This very moment I have received a piece of news which
greatly distresses me, the more so as I gathered from your
last letter that, thank God, you were very well indeed. But
now I hear that you are really ill. I need hardly tell you
how greatly I am longing to receive some reassuring news
from yourself. And I still expect it; although I have now
made a habit of being prepared in all affairs of life for the
worst. As death, when we come to consider it closely, is the
true goal of our existence, I have formed during the last few
years such close relations with this best and truest friend
of mankind, that his image is not only no longer terrifying
to me, but is indeed very soothing and consoling! And I
thank my God for graciously granting me the oppor
tunity (you know what I mean) of learning that death is
the key which unlocks the door to our true happiness. I
never lie down at night without reflecting that — young as
I am — I may not live to see another day. Yet no one of all
my acquaintances could say that in company I am morose
or disgruntled. For this blessing I daily thank my Creator
and wish with all my heart that each one of my fellow-
creatures could enjoy it. In the letter which Madame
Storace took away with her, I expressed my views to you
on this point, in connection with the sad death of my
dearest and most beloved friend, Count von Hatzfeld.1 He
was just thirty-one, my own age. I do not feel sorry for
him, but I pity most sincerely both myself and all who
knew him as well as I did. I hope and trust that while I
am writing this, you are feeling better. But if, contrary to
all expectation, you are not recovering, I implore you by
. . . not to hide it from me, but to tell me the whole truth
or get someone to write it to me, so that as quickly as is

1 Count August von Hatzfeld (1756-1787), an excellent amateur violinist
and an intimate friend of Mozart's.

1351

L. 547 MOZART TO GOTTFRIED VON JACQUIN 1787

humanly possible I may come to your arms. I entreat you
by all that is sacred — to both of us. Nevertheless I trust
that I shall soon have a reassuring letter from you; and
cherishing this pleasant hope, I and my wife and our
little Karl l kiss your hands a thousand times and I am
ever

your most obedient son

W. A. MOZART

(547) Mozart to Baron Gottfried von Jacquin

\Copy in the Preussische Staatsbibliothek, Berlin\

DEAREST FRIEND! VIENNA, May 2gth, 1787

Please tell Herr Exner to come at nine o'clock to
morrow morning to bleed my wife.

I send you herewith your Amynt and the sacred song.
Please be so good as to give the sonata2 to your sister
with my compliments and tell her to tackle it at once, for
it is rather difficult. Adieu. Your true friend

MOZART

I inform you that on returning home to-day I received
the sad news of my most beloved father's death.3 You can
imagine the state I am in.

1 Mozart's son, Karl Thomas, born on September 2ist, 1784.

3 K. 521, sonata in C major for four hands, composed in 1787, which
Mozart dedicated later to two sisters, Babette and Nanette Natorp, the
former of whom subsequently married Jacquin's brother.

3 Leopold Mozart died on May 28th, 1787. The last letter of his which
is preserved is addressed to his daughter, is dated May ioth-1 ith, and con
tains the following remark about his son: "Your brother is now living in the
Landstrasse no. 224. He does not say why he has moved. Not a word. But
unfortunately I can guess the reason." Mozart and his family, for the sake of
economy, had moved at the end of April into a cheaper house, the yearly rent
of which was about fifty gulden. They left this house at the end of the year.

I352

MOZART TO HIS SISTER L. 549

(548) Mozart to his Sister

[From Nissen,pp. 525-526]

VIENNA, June i6/A, 1787
DEAREST, MOST BELOVED SISTER!

I was not at all surprised, as I could easily guess the
reason, that you yourself did not inform me of the sad
death of our most dear father, which to me was quite
unexpected. May God take him to Himself! Rest assured,
my dear, that if you desire a kind brother to love and
protect you, you will find one in me on every occasion.
My dearest, most beloved sister! If you were still un
provided for, all this would be quite unnecessary, for, as
I have already said and thought a thousand times, I
should leave everything to you with the greatest delight.
But as the property would really be of no use to you,
while, on the contrary, it would be a considerable help to
me, I think it my duty to consider my wife and child.

(549) Mozart to his Sister

[Autograph in the possession of Frau Floersheim-Kock, Florence}

VIENNA, August ist, 1787
DEAREST, MOST BELOVED SISTER!

At the moment I am simply replying to your letters,
so I am writing very little and in great haste, as I really
have far too much to do. As both your husband, my dear
brother-in-law, whom I ask you to kiss a thousand times
for me, and I are particularly anxious to wind up the
whole business as soon as possible, I am accepting his
offer, on the understanding, however, that the thousand
gulden shall be paid to me not in Imperial but in Viennese
currency and, moreover, as a bill of exchange. Next post-

1353

L. 550 MOZART TO GOTTFRIED VON JACQUIN

day I shall send your husband the draft of an agreement
or rather of a contract between us. Then the two original
documents will follow, one signed by me, the other to
be signed by him. I shall send you as soon as possible
some new compositions of mine for the clavier. Please do
not forget about my scores. A thousand farewells to you.
I must close. My wife and our Karl send a thousand
greetings to you and your husband, and I am ever your
brother who loves you sincerely,

W. A. MOZART
The Landstrasse,1 August ist, 1787.

(550) Mozart to Baron Gottfried von Jacquin,
Vienna

\_Autograph in the Grdfliches Czernisches Archiv, Neuhaus]

DEAREST FRIEND! PRAGUE, October 15^-25^, 1787

You probably think that my opera 2 is over by now.
If so, you are a little mistaken. In the first place, the stage
personnel here are not as smart as those in Vienna, when
it comes to mastering an opera of this kind in a very short
time. Secondly, I found on my arrival that so few pre
parations and arrangements had been made that it would
have been absolutely impossible to produce it on the I4th,
that is, yesterday. So yesterday my "Figaro" was per
formed in a fully lighted theatre and I myself conducted.

1 Mozart lived here (Hauptstrasse 224, now Hiihnergasse 17) from spring
1787 until about the end of the year.

2 During his first visit to Prague in January 1787 Mozart was asked to
compose an opera buffa for the autumn season, and signed a contract to this
effect with the theatrical manager Bondini. He was to receive the usual fee
of 100 ducats. There is no evidence to show when Mozart and Constanze
arrived in Prague. They probably left Vienna early in September. "Don
Giovanni", for which Da Ponte wrote the libretto, was performed on October
29th.

I3S4

1787 MOZART TO GOTTFRIED VON JACQUIN L. 550

In this connection I have a good joke to tell you. A
few of the leading ladies here, and in particular one very
high and mighty one, were kind enough to find it very
ridiculous, unsuitable, and Heaven knows what else that
the Princess1 should be entertained with a performance
of Figaro, the "Crazy Day",2 as the management were
pleased to call it. It never occurred to them that no opera
in the world, unless it is written specially for it, can be
exactly suitable for such an occasion and that therefore
it was of absolutely no consequence whether this or that
opera were given, provided that it was a good opera and
one which the Princess did not know; and "Figaro" at
least fulfilled this last condition. In short by her per
suasive tongue the ringleader brought things to such a
pitch that the government forbade the impresario to pro
duce this opera on that night. So she was triumphant!
"Ho vinto",3 she called out one evening from her box.
No doubt she never suspected that the ho might be
changed to a sono. But the following day Le Noble
appeared, bearing a command from His Majesty to the
effect that if the new opera could not be given, "Figaro"
was to be performed! My friend, if only you had seen the
handsome, magnificent nose of this lady! Oh, it would
have amused you as much as it did me! "Don Giovanni"
has now been fixed for the 24th.

October 2ist. It was fixed for the 24th, but a further
postponement has been caused by the illness of one of
the singers. As the company is so small, the impresario
is in a perpetual state of anxiety and has to spare his
people as much as possible, lest some unexpected indis
position should plunge him into the most awkward of all

1 Prince Anton of Saxony and his bride, the Archduchess Maria Theresa,
a sister of the Emperor Joseph II, spent a few days in Prague during their
honeymoon.

3 The sub-title of Beaumarchais' comedy "Le manage de Figaro" is "La
folle journee". 3 I have conquered.

1355

L. 550 MOZART TO GOTTFRIED VON JACQUIN

situations, that of not being able to produce any show
whatsoever!

So everything dawdles along here because the singers,
who are lazy, refuse to rehearse on opera days and the
manager, who is anxious and timid, will not force them.
But what is this? — Is it possible? What vision meets my

ears, what sound bombards my eyes? A letter from

I am almost rubbing my eyes sore — Why, it is — The
devil take me t God protect us t It actually is from
you — indeed! If winter were not upon us; I would smash
the stove in good earnest. But as I frequently use it now
and intend to use it more often in future, you will allow
me to express my surprise in a somewhat more moderate
fashion and merely tell you in a few words that I am
extraordinarily pleased to have news from you and your
most precious family.

October 2$tk. To-day is the eleventh day that I have
been scrawling this letter. You will see from this that my
intentions are good. Whenever I can snatch a moment, I
daub in another little piece. But indeed I cannot spend
much time over it, because I am far too much at the dis
posal of other people and far too little at my own. I need
hardly tell you, as we are such old friends, that this is not
the kind of life I prefer.

My opera is to be performed for the first time next
Monday, October 29th. You shall have an account of it
from me a day or two later. As for the aria,1 it is absolutely
impossible to send it to you for reasons which I shall give
you when we meet. I am delighted to hear what you say
about Katherl,2 that is, that she commands the respect of
cats and knows how to retain the friendship of dogs. If
your Papa, to whom I send most cordial greetings, likes

1 There is no trace of this composition, if it was an aria written specially
for Jacquin. Dr. A. Einstein suggests Masetto's aria in "Don Giovanni",
Act I, "Ho capito, Signor, si". 2 Mozart's dog.

I3S6

17*7 MOZART TO GOTTFRIED VON JACQUIN L. 551

to keep her, well, let us pretend that she never belonged
to me. Now, farewell. Please kiss your gracious Mamma's
hands for me, give my best greetings to your sister and
your brother and rest assured that I shall ever be your
true friend and servant

W. A. MOZART

(551) Mozart to Baron Gottfried von Jacquin,
Vienna

[Autograph in the Nationalbibliothek, Vienna^

PRAGUE, November qth-gth, 1787
DEAREST, MOST BELOVED FRIEND!

I hope you received my letter. My opera "Don
Giovanni" had its first performance on October 2gth and
was received with the greatest applause. It was performed
yesterday for the fourth time, for my benefit. I am think
ing of leaving here on the I2th or I3th. When I return,
you shall have the aria1 at once, remember, between
ourselves. How I wish that my good friends, particularly
you and Bridi,2 were here just for one evening in order
to share my pleasure! But perhaps my opera will be per
formed in Vienna after all! I hope so.3 People here are
doing their best to persuade me to remain on for a couple
of months and write another one. But I cannot accept this
proposal, however flattering it may be. Well, dearest
friend, how are you? I trust that you #//are as fit and well
as we are. You cannot fail to be happy, dearest friend, for

1 See p. 1356, n. i.

2 Giuseppe Antonio Bridi, a young merchant from Roveredo, who had a
fine tenor voice and enjoyed the friendship of Mozart. He published in 1827
a volume of Brevi notizie intorno ad alcuni compositor* di musica^ in which
he records his association with Mozart. In Leopold Mozart's Reiseaufzeich-
nungen, p. 49, a Doctor Bridi appears in Mozart's handwriting in the list of
their acquaintances at Roveredo. Possibly he was the father of G. A. Bridi.

3 "Don Giovanni" was performed in Vienna on May 7th, 1788,

1357

L. 551 MOZART TO GOTTFRIED VON JACQUIN

you possess everything that you can wish for at your age
and in your position, particularly as you now seem to be
entirely giving up your former rather restless way of
living. Surely you are becoming every day more con
vinced of the truth of the little lectures I used to inflict
upon you? Surely the pleasure of a transient, capricious
infatuation is as far removed as heaven from earth from
the blessed happiness of a deep and true affection? Surely
in your heart of hearts you often feel grateful to me for
my admonitions? You will end up by making me quite
conceited. But, jesting apart, you do owe me some thanks

after all, if you have become worthy of Fraulein N ,*

for I certainly played no insignificant part in your reform
or conversion. My great-grandfather used to say to his
wife, my great-grandmother, who in turn told her daughter,
my grandmother, who repeated it to her daughter, my
mother, who used to remind her daughter, my own sister,
that to talk well and eloquently was a very great art, but
that an equally great one was to know the right moment
to stop. So I shall follow the advice of my sister, thanks
to our mother, grandmother and great-grandmother, and
put a stop not only to my moral digression but to my whole
letter.

November gtk. It has been a most pleasant surprise to
receive your second letter. If the song in question is
necessary to prove my friendship for you, you have no
further cause to doubt it, for here it is.2 But I trust that
even without this song you are convinced of my true
friendship, and in this hope I remain ever your most
sincere friend

W. A. MOZART

P.S. — That neither your dear parents nor your brother

1 Marianne von Natorp, to whom Gottfried von Jacquin dedicated some
songs. 3 K. 530, <£Wo bist du, Bild", written for Gottfried von Jacquin.

1358

1787 MOZART TO HIS SISTER Z. 552

and sister should have sent me any remembrances, I
really cannot understand. I put it down, my friend, to
your forgetfulness and 'flatter myself that I am not
mistaken. Now I must explain the double seal. The red
wax was no good, so I put black wax on the top of it.
And I had left my usual seal behind me in Vienna.

Adieu. I hope to embrace you soon.

We bo.th send our compliments to your whole family
and to the Natorps.1

(552) Mozart to his Sister

[Autograph in the British Museum} z

DEAREST SISTER, VIENNA, December igth, 1787

I most humbly beg your pardon for having left you
so long without an answer. Of my writing "Don Gio
vanni" for Prague and of the opera's triumphant success
you may have heard already, but that His Majesty the
Emperor has now taken me into his service 3 will probably
be news to you. I am sure you will be pleased to hear it.
Will you please send me the box with my scores as soon
as possible? As for recent clavier music of my own, will
you please note down the themes of the pieces I have sent
you from Vienna and send them to me, so that I may not
send you anything twice over? This will be to your
advantage as well as mine.

Well, good-bye, dear sister. Write to me frequently. If
I don't always answer promptly, put it down not to any
negligence on my part, but simply to stress of work.

* See p. 1352, n. 2. For a full account of the Natorp family and their con
nection with the Jacquins and Mozart see Deutsch-Oldman, ZMWt xiv., and
Hedwig Kraus, ZMW, xv.

2 This letter was first published by Mr. C. B. Oldman in The Musical
Times, July 1929.

3 Mozart's appointment as Kammerkomponist to the Emperor Joseph II
dated from December 7thT 1787. His yearly income was 800 gulden. Cluck,
his predecessor, had received 2000 gulden.

1359

L. 553 MOZART TO MICHAEL PUCHBERG 1788

Adieu. I embrace you with all my heart and am ever your
sincerely affectionate brother

W. A. MOZART

A thousand kisses from my wife, who is expecting to
be confined any moment.1 All sorts of messages to your
dear husband from us both.

(553) Mozart to Michael Puchberg 2

[From Nottebohm, Mozartiana, /. 55] 3

DEAREST BROTHER!4 VIENNA, early in June, 1788

Your true friendship and brotherly love embolden
me to ask a great favour of you. I still owe you eight
ducats. Apart from the fact that at the moment I am not
in a position to pay you back this sum, my confidence in
you is so boundless that I dare to implore you to help me
out with a hundred gulden until next week, when my
concerts in the Casino are to begin. By that time I shall
certainly have received my subscription money and shall
then be able quite easily to pay you back 136 gulden with
my warmest thanks.

1 The Mozarts' fourth child, a daughter, christened Theresia, was born
on December 27th. She died six months later, on June 29th, 1788.

2 Michael Puchberg was a wealthy merchant of Vienna and a talented
musician. He was closely connected with several Masonic Lodges, though
not with the particular Lodge "Zur Wohltatigkeit", of which Mozart had
become a member in December 1784. For a very full account of Mozart's
connections with the leading Freemasons in Vienna and the works he com
posed for their festive occasions, see Otto Erich Deutsch, Mozart und die
Wiener Logen, Vienna, 1932.

3 The only source for nearly all Mozart's letters to Puchberg is Notte-
bohm's Mozartiana, Leipzig, 1880, which, however, rarely quotes any dates.
The present arrangement of these letters follows that of Ludwig Schieder-
mair, which is based on Spitta's article, "Zur Herausgabe der Briefe
Mozarts", in the AMZ, 1880, p. 402 f.

4 i.e. Brother Freemason.

1360

'''^^j^wm^^jl

IliMftflf^' '•' •'^$R

ANTONIO SALIERI

From an engraving by C. F. Riedel
(C. B. Oldman, Esq., London)

1788 MOZART TO MICHAEL PUCHBERG L. 554

I take the liberty of sending you two tickets which, as
a brother, I beg you to accept without payment, seeing
that, as it is, I shall never be able adequately to return the
friendship which you have shown me.

Once more I ask your forgiveness for my importunity
and with greetings to your esteemed wife I remain in true
friendship and fraternal love, your most devoted brother

W. A. MOZART *

(554) Mozart to Michael Puchberg

[Autograph in the possession of Frau Flosrsheim-Kock, Florence]

VIENNA, June i^tk, 1788

MOST HONOURABLE BROTHER OF THE ORDER,2
DEAREST, MOST BELOVED FRIEND!

The conviction that you are indeed my friend and
that you know me to be a man of honour encourages me
to open my heart to you completely and to make you the
following request. In accordance with my natural frank
ness I shall go straight to the point without affectation.

If you have sufficient regard and friendship for me to
assist me for a year or two with one or two thousand
gulden, at a suitable rate of interest, you will help me
enormously! You yourself will surely admit the sense and
truth of my statement when I say that it is difficult, nay
impossible, to live when one has to wait for various odd
sums. If one has not at least a minimum of capital behind
one, it is impossible to keep one's affairs in order. Nothing
can be done with nothing. If you will do me this kindness
then, primo, as I shall have some, money to go on with,
I can meet necessary expenses whenever they occur \ and
therefore more easily, whereas now I have to postpone

1 Puchberg- noted on this letter, "sent 100 gulden".
2 i.e. of Freemasons.

VOL. Ill 1361 X

Z. 554 MOZART TO MICHAEL PUCHBERG 1788

payments and then often at the most awkward time have
to spend all I receive at one go; secondo, I can work with
a mind more free from care and with a lighter heart, and
thus earn more. As to security I do not suppose that you
will have any doubts. You know more or less how I stand
and you know my principles. You need not be anxious
about the subscription: I am now extending the time by a
few months.1 I have hopes of finding more patrons abroad
than here.

I have now opened my whole heart to you in a matter
which is of the utmost importance to me; that is, I have
acted as a true brother. But it is only with a true brother
that one can be perfectly frank. And now I look forward
eagerly to your reply, which I do hope will be favour -able.
I do not know, but I take you to be a man who, provided
he can do so, will like myself certainly assist a friend, if he
be a true friend, or his brother, if he be indeed a brother.
If you should find it inconvenient to part with so large a
sum at once, then I beg you to lend me until to-morrow
at least a couple of hundred gulden, as my landlord in the
Landstrasse has been so importunate that in order to
avoid an unpleasant incident I have had to pay him on
the spot, and this has made things very awkward for me!
We are sleeping to-night, for the first time, in our new
quarters, where we shall remain both summer and winter.2
On the whole the change is all the same to me, in fact I
prefer it. As it is, I have very little to do in town and, as
I am not exposed to so many visitors, I shall have more
time for work. If I have to go to town on business, which
will certainly not be very often, any fiacre will take me
there for ten kreutzer. Moreover our rooms are cheaper

1 Mozart is probably referring to the subscription list for his concerts.

2 The Mozarts had left the Landstrasse by December 1787, as their fourth
child was born on December 27th in a house (which has now disappeared)
"Unter den Tuchlauben 281". They moved again into a house in a street
somewhat outside the town.

1362

1788 MOZART TO MICHAEL PUCHBERG L. 555

and during the spring, summer and autumn more
pleasant, as I have a garden too. The address is Wahrin-
gergasse, bei den Drei Sternen. No. I35-1 Pray regard
this letter as a real proof of my complete confidence in
you and remain ever my friend and brother as I shall
be until the grave, your true, most devoted friend and
brother

W. A. MOZART 2

P.S. — When are we to have a little musical party at
your house again?

I have composed a new trio! 3

(555) Mozart to Michael Puchberg

[Copy in the Preussische Stoat sbibliothek, Berlin]

MOST HONOURABLE B.O.,4 VIENNA, June 2 jtk, 1788

DEAREST, MOST BELOVED FRIEND!

I have been expecting to go to town myself one of
these days and to be able to thank you in person for the
kindness you have shown me. But now I should not even
have the courage to appear before you, as I am obliged to
tell you frankly that it is impossible for me to pay back so
soon the money you have lent me and that I must beg
you to be patient with me! I am very much distressed that
your circumstances at the moment prevent you from
assisting me as much as I could wish, for my position is
so serious that I am unavoidably obliged to raise money
somehow. But, good God, in whom can I confide? In no
one but you, my best friend! If you would only be so kind
as to get the money for me through some other channel!

1 This house still exists as Wahringerstrasse 28.

2 Puchberg noted on this letter, "sent 200 gulden on June iyth, 1788".

3 K. 542, piano trio in E major. 4 i.e. Brother of the Order.

1363

L. 556 MOZART TO MICHAEL PUCHBERG 1788

I shall willingly pay the interest and whoever lends it to
me will, I believe, have sufficient security in my character
and my income.1 I am only too grieved to be in such an
extremity; but that is the very reason why I should like
a fairly substantial sum for a somewhat longer period, I
mean, in order to be able to prevent a recurrence of this
state of affairs. If you, my most worthy brother, do not
help me in this predicament, I shall lose my honour and
my credit, which of all things I wish to preserve. I rely
entirely on your genuine friendship and brotherly love
and confidently expect that you will stand by me in word
and deed. If my wish is fulfilled, I can breathe freely again,
because I shall then be able to put my affairs in order
and keep them so. Do come and see me. I am always at
home. During the ten days since I came to live here I
have done more work than in two months in my former
quarters, and if such black thoughts did not come to me
so often, thoughts which I banish by a tremendous effort,
things would be even better, for my rooms are pleasant —
comfortable — and — cheap. I shall not detain you any
longer with my drivel but shall stop talking — and hope.
Ever your grateful servant, true friend and B.O.

W. A. MOZART
June 27th, 1788.

(556) Mozart to Michael Puchberg

[Autograph in the Preussische Staatsbibliothek, Berlin]

VIENNA, beginning of July, 1788
DEAREST FRIEND AND B.O.

Owing to great difficulties and complications my
affairs have become so involved that it is of the utmost
importance to raise some money on these two pawn-

1 See p. 1359, n. 3.
1364

i?88 MOZART TO HIS SISTER L. 557

broker's tickets. In the name of our friendship I implore
you to do me this favour; but you must do it immediately.
Forgive my importunity, but you know my situation.
Ah! If only you had done what I asked you! Do it even
now — then everything will be as I desire.

Ever your

MOZART

(557) Mozart to his Sister

[From Ludwig Nohl, Mozarts Brief e, -2nd edition, p. 431]

DEAREST SISTER! VIENNA, A ugwt 2nd, 1788

'Indeed you have every reason to be vexed with me!
But will you really be so, when you receive by this mail
coach my very latest compositions for the clavier?1
Surely not! This, I hope, will make everything all right
again.

As you must be convinced that every day I wish you
every possible happiness, you will forgive me for limping
along rather far behind with my congratulations on your
name-day,2 Dearest sister, with my whole heart and soul
I wish you all that you believe is most advantageous to
yourself. So now Punctum.

Dear sister! You must realise that I have a great deal
to do. Besides, you know very well that I am rather lazy
about letter-writing. So do not take it amiss, if I seldom
write to you. But this must not prevent you from writing
very often to me. Indeed, though I detest writing letters,
I love getting them. Moreover you have far more to write
about than I have, as Salzburg affairs interest me more
than what is happening in Vienna can interest you.

Well, I have a request to make. I should very much

1 Probably K. 540, adagio in B minor, K. 545, sonata in C major, and
K. 547, clavier and violin sonata in F major. 2 July 26th.

1365

L. 557 MOZART TO HIS SISTER I?88

like Haydn1 to lend me for a short time his two Tutti-
masses and the Graduate which he has composed, all of
them in the original scores. Tell him that I shall return
them with many thanks. It is now exactly a year since I
wrote to him and invited him to come and stay with me;
but he has not replied. As a matter of fact, as far as
answering letters is concerned, he seems, don't you think,
to have a good deal in common with myself. So I urge
you to arrange this for me in the following way. Invite
him to your house at St. Gilgen and play to him some of
my latest compositions. I am sure he will like the Trio and
the Quartet.2 Adieu, dearest sister! As soon as I can
collect some new music again, I shall send it to you. I am
ever your sincere brother

W. A. MOZART

P.S. — My wife sends her love to you and we both send
ours to our dear brother-in-law.

P.S, — In reply to your question about my appointment,
I must tell you that the Emperor has taken me into his
household. I now have therefore a permanent appoint
ment, but for the time being at a salary of only 800
gulden. However, no one else in the household is drawing
so large a sum. The notice which was printed at the time
when my Prague opera "Don Giovanni" (which by the
way is being given again to-day) was performed and on
which there are certainly not too many particulars about
me, as the management of the Imperial Theatre were
responsible for it, stated:— 'The music is by Herr
Mozart, duly-appointed Kapellmeister to His Imperial
Majesty".

1 Michael Haydn.

2 Probably K. 542, piano trio in E major, and K. 493, piano quartet in Eb.
See Kochel, p. 693.

1366

I78g MOZART TO FRANZ HOFDEMEL Z. 558

(558) Mozart to Franz Hofdemel l

[Autograph sold by Leo Liepmannssohn, Berlin,
November ibth, 1928, Catalogue 52]

DEAREST FRIEND! VIENNA, end of March, 1789

I am taking the liberty of asking you without any
hesitation for a favour. I should be very much obliged to
you if you could and would lend me a hundred gulden
until the 2Oth of next month. On that day I receive the
quarterly instalment of my salary and shall then repay
the loan with thanks. I have relied too much on a sum of
a hundred ducats due to me from abroad. Up to the
present I have not yet received it, although I am ex
pecting it daily. Meanwhile I have left myself too short
of cash, so that at the moment I greatly need some ready
money 2 and have therefore appealed to your goodness, as
I am absolutely convinced of your friendship.

Well, we shall soon be able to call one another by a
more delightful name! For your novitiate is very nearly

at an end! 3

MOZART 4

1 Franz Hofdemel, private secretary to a certain Count Seilern, held later
as "Tustizkanzlist" an appointment in the Vienna Law Courts. He married
Magdalene Pokorny, the daughter of Kapellmeister Gotthard Pokorny and
a pupil of Mozart's. Shortly after the latter's death Hofdemel in a fit of
jealousy attempted to murder his wife, an incident which gave rise to all kinds
of gossip about Mozart's private life. .

2 Prince Karl Lichnowsky had offered to take Mozart to Berlin and intro
duce him to King Frederick William II. Evidently Mozart needed money
for this journey.

3 Hofdemel had joined the Order of Freemasons.

+ Hofdemel acceded to Mozart's request and Mozart sent him a receipt
dated April 2nd, 1789, and a promise to repay the sum within four months.
The autograph of this document is in the possession of Frau Floersheim-
Koch, Florence.

1367

Z. 560 MOZART TO HIS WIFE i78g

(559) Mozart to his Wife

[From Nottebohm^ Mozartiana, p. 83]

DEAREST LITTLE WIFE! BUDWITZ, April Stk, 1789

While the Prince * is busy bargaining about horses,
I am delighted to seize this opportunity to write a few
lines to you, dearest little wife of my heart. How are you? I
wonder whether you think of me as often as I think of you?
Every other moment I look at your portrait — and weep
partly for joy, partly for sorrow. Look after your health
which is so precious to me and fare well, my darling! Do
not worry about me, for I am not suffering any dis
comforts or any annoyance on this journey — apart from
your absence — which, as it can't be helped, can't be
remedied. I write this note with eyes full of tears. Adieu.
I shall write a longer and more legible letter to you from
Prague, for then I shan't have to hurry so much. Adieu.
I kiss you millions of times most tenderly and am ever
yours, true till death

stu — stu —

MOZART

Kiss Karl for me and give all sorts of messages to Herr
and Frau von Puchberg. More very soon.

(560) Mozart to his Wife

{Copy in the Preussische Staatsbibliotkek, Berlin\

PRAGUE, Good Friday, April iotky 1789
DEAREST, MOST BELOVED LITTLE WIFE!

We arrived here safely to-day at half past one in the
afternoon. Meanwhile I trust that you have received my

1 Prince Karl Lichnowsky, a nephew of Countess Wilhelmine Thun, was
a pupil and friend of Mozart's.

1368

ijBg MOZART TO HIS WIFE L. 560

little note from Budwitz. Now for my account of Prague.
We alighted at the "Unicorn" and after I had been
shaved, had my hair done and got dressed, I drove out to
Canal's1 on the chance of having a meal with him. But
as my drive took me past the Duscheks*, I called there
first and was told that Madame had left yesterday for
Dresden! So I shall meet her there. Duschek was
lunching at Leliborn's, where I too used often to lunch.
So I drove straight there. I sent in a message to Duschek,
just as if someone or other wished to speak to him, and
asked him to come out. You can just imagine our delight.
So I lunched at Leliborn's. After it was over I drove off
to Canal and Pachta,2 but they were both out. So I went
on to Guardasoni,3 who has practically arranged to give
me 200 ducats next autumn for the opera and 50 ducats
for travelling expenses.4 Then I came home to write all
this to my dear little wife. That reminds me. Only a week
ago Ramm left Prague to return home. He came from
Berlin and said that the King5 had frequently and in
sistently enquired whether it was certain that I was
coming to Berlin, as I had not yet appeared. He had
said a second time: "I fear that he will not come at all".
Ramm became very uneasy and tried to convince him
that I really was coming. Judging by this, my affairs
ought to be fairly successful. I am now taking the
Prince 6 to see Duschek, who is expecting us, and at nine
o'clock we are starting off for Dresden, where we hope to
arrive to-morrow evening. Dearest little wife! I arn simply

1 Count Canal. See p. 1344, n. 3.

2 Count Johann von Pachta. See p. 444, n. i.

3 Domenico Guardasoni had been manager of the National Theatre at
Prague since 1788. In 1789 he went to Warsaw to organise theatrical pro
ductions there, and only returned to Prague in 1791.

4 This commission was never carried out.

5 King Frederick William II, who was an excellent performer on the
violoncello and a great lover and active patron of musk.

6 Prince Karl Lichnowsky.

1369

L. 561 MOZART TO HIS WIFE i789

aching for news of you. Perhaps I shall find a letter at
Dresden! Great God, fulfil my wishes! When you receive
this letter you must write to me at Leipzig — Poste
Restante, of course. Adieu, my love, I must close, or I
shall miss the post. Kiss our Karl a thousand times and I,
who kiss you most ardently,

remain ever your faithful

MOZART

P.S. — All sorts of messages to Herr and Frau von
Puchberg. I must wait until I get to Berlin to write and
thank him.

Adieu, aimez-moi et gardez votre sante si chere et
precieuse a votre epoux.

(561) Mozart to his Wife

\Copy in the Preussische Staatsbibliothek> Berlin\

DRESDEN, April 13^, 1789
At seven o'clock in the morning
DEAREST, MOST BELOVED LITTLE WIFE!

We expected to reach Dresden after dinner on
Saturday, but we did not arrive until yesterday, Sunday,
at two o'clock in the afternoon, as the roads were so bad.
All the same I went yesterday to the Neumanns,1 where
Madame Duschek is staying, in order to deliver her
husband's letter. Her room is on the third floor beside the
corridor and from it you can see anyone who is coming
to the house. When I arrived at the door, Herr Neumann
was already there and asked me to whom he had the
honour to speak. "That I shall tell you in a moment/'
I replied, "but please be so kind as to call Madame

1 Johann Leopold Neumann, secretary to the Saxon War Council, wrote
and translated opera texts. His wife was an excellent pianist.

1370

MOZART TO HIS WIFE Z. 561

Duschek, so that my joke may not be spoilt." But at the
same moment Madame Duschek stood before me, for she
had recognised me from the window and had said at once:
"Why, here comes someone who is very like Mozart".
Well, we were all delighted. There was a large party,
consisting entirely of ugly women, who by their charm,
however, made up for their lack of beauty. The Prince
and I are going to breakfast there to-day; we shall then
see Naumann1 and then the chapel. To-morrow or the
day after we shall leave for Leipzig. After receiving this
letter you must write to Berlin, Poste Restante. I trust
that you got my letter from Prague. All the Neumanns
and the Duscheks send their greetings to you and also to
my brother-in-law Lange and his wife.

Dearest little wife, if only I had a letter from you! If I
were to tell you all the things I do with your dear portrait,
I think that you would often laugh. For instance, when I
take it out of its case, I say, "Good-day, Stanzerl! —
Good-day, little rascal, pussy-pussy, little turned-up nose,
little bagatelle, Schluck und Druck", and when I put it
away again, I let it slip in very slowly, saying all the time,
"Nu — Nu — Nu — Nu!" with the peculiar emphasis which
this word so full of meaning demands, and then just at the
last, quickly, "Good night, little mouse, sleep well". Well,
I suppose I have been writing something very foolish (to
the world at all events); but to us who love each other so
dearly, it is not foolish at all. To-day is the sixth day since
I left you and by Heaven! it seems a year. I expect you
will have some difficulty here and there in reading my
letter, because I am writing in a hurry and therefore

1 Johann Gottlieb Naumann (1741-1801), a prolific composer of operas
and church music. He studied in Italy under Tartlni and Padre Martini,
and in 1776 was appointed Kapellmeister and in 1786 Oberkapellmeister to
the Dresden court. During a visit to Stockholm, 1776-1778, he produced two
of his best works, " Amphion" and "Cora", the Swedish texts of which were
subsequently translated into German by J. L. Neumann.

1371

Z. 562 MOZART TO HIS WIFE i78g

rather badly. Adieu, my only love! The carriage is
waiting. This time I do not say: "Hurrah — the carriage
has come at last", but "male'.1 Farewell, and love me for
ever as I love you. I kiss you a million times most
lovingly and am ever your husband who loves you
tenderly

W. A. MOZART

P.S. — How is our Karl behaving? Well, I hope. Kiss him
for me. All sorts of kind messages to Herr and Frau von
Puchberg. Remember, you must not regulate the length
of your letters by that of mine. Mine are rather short, but
only because I am in a hurry. If I were not, I should cover
a whole sheet. But you have more leisure. Adieu.

(562) Mozart to his Wife

[Copy in the Preussische Staatsbibliottiek, Berlin\

DRESDEN, April i6tk, 1789
Half past eleven at night
DEAREST, MOST BELOVED LITTLE WIFE!

What? Still in Dresden? Yes, my love. Well, I shall
tell you everything as minutely as possible. On Monday,
April 1 3th, after breakfasting with the Neumanns we all
went to the Court chapel. The mass was by Naumann,
who conducted it himself, and very poor stuff it was. We
were in an oratory opposite the orchestra. All of a sudden
Neumann nudged me and introduced me to Herr von
Konig, who is the Directeur des Plaisirs (of the melan
choly plaisirs of the Elector). He was extremely nice and
when he asked me whether I should like His Highness
to hear me, I replied that it would indeed be a great
privilege, but that, as I was not travelling alone, I could

1 i.e. Confound it!
1372

MOZART TO HIS WIFE L. 562

not prolong my stay. So we left It at that. My princely
travelling companion invited the Neumanns and Madame
Duschek to lunch. While we were at table a message came
that I was to play at court on the following day, Tuesday,
April 1 4th, at half past five in the evening. That is some
thing quite out of the ordinary for Dresden, for it is
usually very difficult to get a hearing, and you know that
I never thought of performing at court here. We had
arranged a quartet among ourselves at the Hotel de
Pologne. So we performed it in the Chapel with Anton
Teiber (who, as you know, is organist here) and with Herr
Kraft,1 Prince Esterhazy's violoncellist, who is here with
his son.2 At this little concert I introduced the trio3 which
I wrote for Herr von Puchberg and it was played quite
decently. Madame Duschek sang a number of arias from
" Figaro" and "Don Giovanni". The next day I played at
court my new concerto in D,4 and on the following morn
ing, Wednesday, April I5th, I received a very handsome
snuff-box. Then we lunched with the Russian Ambassador,
to whom I played a great deal. After lunch we agreed to
have some organ playing and drove to the church at four
o'clock — Naumann was there too. At this point you must
know that a certain Hassler,5 who is organist at Erfurt,
is in Dresden. Well, he too was there. He was a pupil of a

1 Anton Kraft (1752-1820), a distinguished violoncellist. He studied in
Vienna, where Haydn secured him for the orchestra of Prince Esterhazy. On
the latter's death in 1790 Kraft became chamber musician to Prince Grassal-
kowics, and in 1795 to Prince Lobkowitz, in whose service he died. He
composed several works for his instrument.

2 Nicolaus Kraft (1778-1853), son of Anton Kraft. He early became pro
ficient on the violoncello, accompanied his father on concert tours and in
1790 settled with him in Vienna, where he was one of Prince Karl Lichnow-
sky's famous quartet. He was a more gifted composer than his father.

3 K. 563, a divertimento for violin, viola and 'cello, composed in 1788.

4 K. 537, clavier concerto in D major, composed in 1788.

5 Johann Wilhelm Hassler (1747-1822), who enjoyed a great reputation as
an organist and had already won success by his performances at Dresden in
1788.

1373

Z. 562 MOZART TO HIS WIFE i789

pupil1 of Bach's. His forte is the organ and the clavier
(clavichord). Now people here think that because I come
from Vienna, I am quite unacquainted with this style and
mode of playing. Well, I sat down at the organ and
played. Prince Lichnowsky, who knows Hassler very
well, after some difficulty persuaded him to play also.
This Hassler's chief excellence on the organ consists in
his foot- work, which, since the pedals are graded here, is
not so very wonderful. Moreover, he has done no more
than commit to memory the harmony and modulations of
old Sebastian Bach and is not capable of executing a
fugue properly; and his playing is not thorough. Thus he
is far from being an Albrechtsbergen2 After that we
decided to go back to the Russian Ambassador's, so that
Hassler might hear me on the fortepiano. He played too.
I consider Mile Aurnhammer as good a player on the
fortepiano as he is, so you can imagine that he has begun
to sink very considerably in my estimation. After that we
went to the opera, which is truly wretched. Do you know
who is one of the singers? Why — Rosa Manservisi.3 You
can picture her delight at seeing me. But the leading
woman singer, Madame Allegranti,4 is far better than
Madame Ferraresi,5 which, I admit, is not saying very

1 Johann Christian Kittel (1732-1809), one of the last pupils of Johann
Sebastian Bach. He was organist first at Langensalza and later at the Predi-
gerkirche in Erfurt, his native town.

2 Johann Georg Albrechtsberger (1736-1809), organist and composer. He
was appointed in 1772 court organist at Vienna and director of music at St.
Stephen's. He was also a famous teacher and the author of a great theoretical
work, Grundliche Anweisung zur Composition, Leipzig, 1790.

3 Rosa Manservisi took the part of Sandrina in Mozart's "La finta
giardiniera", which was performed at Munich in 1775.

4 Maddalena Allegranti, a famous soprano singer of the eighteenth century.
She studied under Holzbauer at Mannheim and made her first appearance
in Venice in 1771, and from that time sang frequently in Italy. She performed
in England in 1781.

5 Adriana Ferraresi del Bene first appeared in Vienna in 1788 in Martin's
"L'arbore di Diana". For the revival of "Le Nozze di Figaro" in August 1789

1374

1789 MOZART TO HIS WIFE L. 562

much. When the opera was over we went home. Then
came the happiest of all moments for me. I found a letter
from you, that letter which I had longed for so ardently,
my darling, my beloved! Madame Duschek and the Neu
manns were with me as usual. But I immediately went off
in triumph to my room, kissed the letter countless times
before breaking the seal, and then devoured it rather than
read it. I stayed in my room a long time; for I could not
read it or kiss it often enough. When I rejoined the com
pany, the Neumanns asked me whether I had had a letter
from you, and when I said that I had, they all congratu
lated me most heartily — as every day I had been lament
ing that I had not yet heard from you. They are delightful
people. Now for your dear letter. You shall receive by the
next post an account of what will have taken place here
up to the time of our departure.

Dear little wife, I have a number of requests to make.
I beg you

(1) not to be melancholy,

(2) to take care of your health and to beware of the spring
breezes^

(3) not to go out walking alone — and preferably not to go
out walking at all,

(4) to feel absolutely assured of my love. Up to the
present I have not written a single letter to you
without placing your dear portrait before me,

(6) and lastly I beg you to send me more details in your
letters, I should very much like to know whether our
brother-in-law Hofer came to see us the day after my
departure? Whether he comes very often, as he
promised me he would? Whether the Langes come
sometimes? Whether progress is being made with the

Mozart composed for her the aria "Al desio di chi t'adora", sung by Susanna.
He also wrote for her the part of Fiordiligi in "Cosi fan tutte", which was
performed on January 26th, 1790.

1375

Z. 565 MOZART TO HIS WIFE I789

portrait?1 What sort of life you are leading? All these
things are naturally of great interest to me.
(5) I beg you in your conduct not only to be careful of
your honour and mine> but also to consider appear
ances. Do not be angry with me for asking this. You
ought to love me even more for thus valuing our
honour.

Now farewell, dearest, most beloved! Please remember
that every night before going to bed I talk to your por
trait for a good half hour and do the same when I awake.
We are leaving on the i8th, the day after to-morrow. So
continue to write to Berlin, Poste Restante.

O Stru! Stri! I kiss and squeeze you 1095060437082
times (now you can practise your pronunciation) and am
ever your most faithful husband and friend

W. A. MOZART

The account of the rest of our Dresden visit will follow
in my next letter. Good night!

(563) Mozart to his Wife

[Autograph in the possession of Heinrich Eisemann, London}

LEIPZIG, May i6th, 1789
DEAREST, MOST BELOVED LITTLE WIFE OF MY HEART!

What? Still in Leipzig?2 My last letter, dated May
8th or gth, told you, it is true, that I was leaving at two
o'clock that night; but the insistent requests of my friends
persuaded me not to make the whole of Leipzig suffer for

1 Possibly a lost portrait of Constanze.

2 This letter was written during Mozart's second visit to Leipzig, whither
he made a trip from Potsdam.

1376

1789 MOZART TO HIS WIFE L. 563

the shortcomings of one or two persons, but to give a
concert on Tuesday, the I2th. From the point of view of
applause and glory this concert was absolutely magnifi
cent, but the profits were wretchedly meagre. Madame
Duschek, who happens to be in Leipzig, sang at it. The
Neumanns of Dresden are all here too. The pleasure of
being as long as possible in the company of these dear
good people, who all send their best greetings to you, has
up to the present delayed my journey. I wanted to get
away yesterday, but could find no horses. I am having
the same difficulty to-day. For at the present moment
everyone is trying to get off and the number of travellers
is simply enormous. But we shall be on the road to
morrow at five o'clock. My love! I am very sorry and yet
perhaps a little glad that you are in the same state as I
have been. No, no! I would rather that you had never
been in the same sad situation and I hope and trust that
at the time I am writing this letter, you will have received
at least one of mine. God knows what the cause may be!
I received in Leipzig on April 2ist your letter of April
1 3th. Then I spent seventeen days in Potsdam without
any letters. Not until May 8th did I receive your letter of
April 24th, while apart from this I have not received any,
with the exception of one dated May 5th, which came
yesterday. For my part I wrote to you from Leipzig on
April 22nd, from Potsdam on the 28th, again from Pots
dam on May 5th, from Leipzig on the gth, and now I am
writing on the i6th. The strangest thing of all is that we
both found ourselves at the same time in the same sad
situation, I was very anxious from April 24th until
May 8th, and to judge from your letter this was also the
time when you were worried. But I trust that by now you
will have got over this. And my consolation is that soon
letters will no longer be necessary, for we shall be able to
talk to each other and kiss and press each other to our
voL.ni 1377 Y

Z. 563 MOZART TO HIS WIFE i78g

hearts. In my last letter I told you not to write to me any
more; and that is the safest course. But I am now asking
you to send a reply to this letter, and to address it to
Duschek at Prague. You must put it in a proper convert
and ask him to keep it until my arrival. I shall probably
have to spend at least a week in Berlin. So I shall not be
able to reach Vienna before June 5th or 6th — that is, ten
or twelve days after you receive this letter. One thing
more about the loss of our letters. I also wrote to our dear
friend Puchberg on April 28th. Please give him a thousand
greetings from me and thank him on my behalf. I had no
idea that Schmidt * was ill. You probably told me this in
the letter which I did not receive. A thousand thanks
for the account of Seydelmann's opera.2 Indeed a more
suitable name for him would be Maasmann. But if you
knew him personally, as I do, you would probably call
him Bluzermann, or at any rate, Zimmentmann.3 Fare
well, dear little wife. Please do all the things I have asked
you to do in "my letters, for what prompted me was love —
real, true love; and love me as much as I do you. I am
ever

your only true friend and faithful husband

W. A. MOZART

1 Possibly Ludwig Schmidt. See p. 1317, n. 3.

2 Franz Seydelmann (1748-1806), a native of Dresden and a pupil of
J. G. Naumann. After studying in Italy he was appointed in 1772 church
composer in Dresden and in 1787 Kapellmeister. His opera "II Turco in
Italia", produced at Dresden in 1788, was performed in Vienna on April
28th, 1789. Evidently Constanze had seen it.

3 The words "Seidel, Maas, Bluzer and Zimment" are expressions in the
Viennese dialect for drinking-measures. Mozart alludes, of course, to Seydel-
mann's tendency to drink.

1378

1789 MOZART TO HIS WIFE £.565

(564) Mozart to his Wife

[From Nottebohm, Mozarfiana, p. 33]

BERLIN, May igtk, 1789 *
DEAREST, MOST BELOVED LITTLE WIFE OF MY HEART!

Well, I trust that you will by now have received some
letters from me, for they can't all have been lost. This time
I can't write very much to you, as I have to pay some
calls and I am only sending you this to announce my
arrival. I shall probably be able to leave by the 25th; at
least I shall do my best to do so. But I shall let you know
definitely before then. I shall quite certainly get away by
the 27th. Oh, how glad I shall be to be with you again,
my darling! But the first thing I shall do is to take you by
your front curls; for how on earth could you think, or even
imagine, that I had forgotten you? How could I possibly
do so? For even supposing such a thing you will get on the
very first night a thorough spanking . . ., and this you
may count upon.
Adieu.

Ever your only friend and your husband
who loves you with all his heart

W. A. MOZART

(565) Mozart to his Wife .

[Autograph in the possession of Frau Floersheim-Koch, Florence]

BERLIN, May 2yd, 1789

DEAREST, MOST BELOVED, MOST PRECIOUS LITTLE WIFE!

I was above measure delighted to receive here your

dear letter of May I3th, and only this very moment your

1 For an account of Mozart's visit to Berlin, see an article by Ernst Fried-
lander, "Mozarts Beziehungen zu Berlin", in MMB, April 1897.

1379

Z. 565 MOZART TO HIS WIFE

previous one of the gth, which had to find its way from
Leipzig to Berlin. Well, the first thing I am going to do is
to make a list of all the letters which I sent you and then a
list of the letters which I have received from you.

I wrote to you on April 8th from the post-stage Budwitz

On April loth from Prague
On April i3thJfromDresden

and I7thj
On April 22nd (in French) from Leipzig

On April 28th] , D „ A

. £, , Krom Potsdam
and May 5th J

On May othl r T • •

•; ; , \ from Leipzig
and i6thj ^ 5

On May iQth from Berlin

and I am now writing on the 23rd.1

That makes eleven letters.
I received your letter of April 8th on April I5th

in Dresden
„ „ of April i3th „ April 2ist

in Leipzig

„ of April 24th „ May 8th ' \ g

in Leipzig 1 |

„ of May 5th „ May I4th I £

in Leipzig; §
„ „ of May i3th „ May 2oth

in Berlin
„ „ of May 9th „ May 22nd

in Berlin

That makes six letters.

You see that there is a gap between April i3th and 24th.
So one of your letters must have gone astray and thus I
was without a letter for seventeen days. So if you too had

1 Mozart's four letters written between April 22nd and May 9th have un
fortunately been lost.

1380

1789 MOZART TO HIS WIFE L. 565

to spend seventeen days in the same condition, one of my
letters must have been lost. Thank God, we shall soon
have got over these mischances. In your arms I shall be
able to tell you all, all that I felt at that time. But you
know how I love you. Well, where do you think I am
writing this letter? In my room at the inn? Not at all. In
a restaurant in the Tiergarten (in a summer house with
a lovely view) where I lunched to-day all by myself, in
order to devote myself wholly to you. The Queen wants
to hear me play on Tuesday, but J sharit make much
money. I only announced my arrival because such is the
custom here, and because she would have taken it amiss
had I not done so. First of all, my darling little wife, when
I return you must be more delighted with having me
back than with the money I shall bring. A hundred
friedrichs d'or are not nine hundred gulden but seven
hundred — at least that is what they have told me here.
Secondly, Lichnowsky (as he was in a hurry) left me here,
and so I have had to pay for my keep in Potsdam, which
is an expensive place. Thirdly, I had to lend him a
hundred gulden, as his purse was getting empty. I could
not well refuse him: you will know why. Fourthly, my
concert at Leipzig was a failure, as I always said it would
be, so I had a journey of sixty-four miles there and back
almost for nothing. Lichnowsky alone is to blame for this,
for he gave me no peace but insisted on my returning to
Leipzig. I shall tell you more about this when we meet.
But (i) if I gave a concert here I should not make much
out of it and (2) the King would not care for me to give
one. So you must just be satisfied as I am with this, that
I am fortunate enough to be enjoying the King's favour.
What I have just written to you is for ourselves alone. On
Thursday, the 28th, I shall leave for Dresden, where I
shall spend the night. On June ist I intend to sleep in
Prague, and on the 4th — the 4th — with my darling little

1381

L. 566 MOZART TO HIS WIFE

wife. Arrange your dear sweet nest very daintily, for my
little fellow deserves it indeed, he has really behaved
himself very well and is only longing to possess your
sweetest. . . .* Just picture to yourself that rascal; as I write
he crawls on to the table and looks at me questioningly.
I, however, box his ears properly — but the rogue is
simply . . . and now the knave burns only more fiercely
and can hardly be restrained. Surely you will drive out
to the first post-stage to meet me? I shall get there at
noon on the 4th. I hope that Hofer, whom I embrace a
thousand times, will be with you. If Herr and Frau von
Puchberg drive out with you too, then all the friends I
want to see will be together. Don't forget to bring our
Karl. But the most important thing of all is that you
should have with you someone you can rely on (Satmann
or someone else), who can drive off to the customs in
my carriage with my luggage, so that / may not have
to face that unnecessary seccatura, but can drive home
with all you dear people. Now remember this.

Well, adieu. I kiss you millions of times and am ever
your most faithful husband

W. A. MOZART 2

(566) Mozart to his Wife

[Autograph in the Nationalbibliothek, Vienna]

PRAGUE, May $ist, 1789
DARLING, MOST BELOVED LITTLE WIFE!

I have just arrived this very moment. I hope that
you received my last letter of the 23rd. Well, the arrange
ment still stands. I shall arrive on Thursday, June 4th,

1 The dotted passages are words which have been blotted out in the
autograph.

2 The autograph of this letter has the address "Auf dem Hohen Markt,
im Malseckischen Hause, bei Herrn von Puchberg". Probably Mozart's wife
and child were living with the Puchbergs during his absence in Germany.

1382

MOZART TO MICHAEL PUCHBERG Z. 567

between eleven and twelve o'clock at the last, or rather the
first post-stage, where I hope to find you all. Do not forget
to bring someone with you, who can drive to the customs
instead of me. Adieu. Good God, how delighted I am to
be seeing you again! In haste.

MOZART

(567) Mozart to Michael Puchberg

[From Nottebohm, Mozartiana, pp. 12-14]

1789

DEAREST, MOST BELOVED FRIEND AND MOST HONOUR
ABLE B.O.

Great God! I would not wish my worst enemy to be
in my present position. And if you, most beloved friend
and brother, forsake me, we are altogether lost, both my
unfortunate and blameless self and my poor sick wife and
child. Only the other day when I was with you I was
longing to open my heart to you, but I had not the
courage to do so — and indeed I should still not have the
courage — for, as it is, I only dare to write and tremble as
I do so — and I should not even dare to write, were I not
certain that you know me, that you are aware of my
circumstances, and that you are wholly convinced of my
innocence so far as my unfortunate and most distressing
situation is concerned. Good God! I am coming to you
not with thanks but with fresh entreaties! Instead of
paying my debts I am asking for more money! If you
really know me, you must sympathise with my anguish
in having to do so. I need not tell you once more that
owing to my unfortunate illness I have been prevented
from earning anything. But I must mention that in spite
of my wretched condition I decided to give subscription
concerts at home in order to be able to meet at least my
present great and frequent expenses, for I was absolutely

13*3

Z. 567 MOZART TO MICHAEL PUCHBERG 1789

convinced of your friendly assistance. But even this has
failed. Unfortunately Fate is so much against me, though
only in Vienna, that even when I want to, I cannot make
any money. A fortnight ago I sent round a list for sub
scribers and so far the only name on it is that of Baron
van Swieten! Now that (the I3th) my dear little wife seems
to be improving every day, I should be able to set to
work again, if this blow, this heavy blow, had not come.
At any rate, people are consoling me by telling me that
she is better — although the night before last she was
suffering so much — and I on her account — that I was
stunned and despairing. But last night (the I4th), she
slept so well and has felt so much easier all the morning
that I am very hopeful; and at last I am beginning to feel
inclined for work. I am now faced, however, with mis
fortunes of another kind, though, it is true, only for
the moment. Dearest, most beloved friend and brother —
you know my present circumstances, but you also know
my prospects. So let things remain as we arranged; that
is, thus or thus, you understand what I mean. Mean
while I am composing six easy clavier sonatas for Princess
Friederike J and six quartets for the King,2 all of which
Kozeluch is engraving at my expense. At the same time
the two dedications will bring me in something. In a
month or two my fate must be decided in every detail.
Therefore, most beloved friend, you will not be risking
anything so far as I am concerned. So it all depends, my
only friend, upon whether you will or can lend me another
500 gulden. Until my affairs are settled, I undertake to

1 Princess Friederike, the eldest daughter of King Frederick William II
of Prussia. Mozart appears to have finished only one of these sonatas, K. 576,
in D major, his last clavier sonata.

2 Mozart finished three quartets, K. 575, composed in 1789, and K. 589
and 590, composed in 1790. K. 590 was Mozart's last string quartet.
Kozeluch did not engrave these works, which were published by Artaria
immediately after Mozart's death.

1384

MOZART TO MICHAEL PUCHBERG Z. 568

pay back ten gulden a month; and then, as this is bound
to happen in a few months, I shall pay back the whole
sum with whatever interest you may demand, and at the
same time acknowledge myself to be your debtor for life.
That, alas, I shall have to remain, for I shall never be
able to thank you sufficiently for your friendship and
affection. Thank God, that is over. Now you know all.
Do not be offended by my confiding in you and remember
that unless you help me, the honour, the peace of mind,
and perhaps the very life of your friend and brother
Mason will be ruined.

Ever your most grateful servant, true
friend and brother

W. A. MOZART
At home, July I4th, 1789.

O God!— I can hardly bring myself to despatch this
letter! — and yet I must! If this illness had not befallen me,
I should not have been obliged to beg so shamelessly
from my only friend. Yet I hope for your forgiveness, for
you know both the good and the bad prospects of my
situation. The bad is temporary; the good will certainly
persist, once the momentary evil has been alleviated.
Adieu. For God's sake forgive me, only forgive me! —
and — Adieu!

(568) Mozart to Michael Puchberg

[A utograph formerly in the Musikhistorisches Museum von W. Heyer, Cologne]

VIENNA,/^ 17$ A, 1789
DEAREST, MOST BELOVED FRIEND
AND MOST HONOURABLE B.O.

I fear you are angry with me, for you are not sending
me a reply! When I compare the proofs of your friendship
with my present demands upon it, I cannot but admit that

1385

Z. 565 MOZART TO MICHAEL PUCHBERG 1789

you are perfectly right. But when I compare my mis
fortunes (for which I am not to blame) with your kindly
disposition towards me, then I do find that there is some
excuse for me. As in my last letter to you, my dear friend,
I told you quite frankly everything that was burdening
my heart, I can only repeat to-day what I said then. But
I must still add that (i) I should not require such a con
siderable sum if I did not anticipate very heavy expenses
in connection with the cure my wife may have to take,
particularly if she has to go to Baden.1 (2) As I am
positive that in a short time I shall be in better circum
stances, the amount of the sum I shall have to repay is a
matter of indifference to me. Nevertheless at the present
moment I should prefer it to be a large sum, which would
make me feel safer. (3) I entreat you, if it is quite impos
sible for you to assist me this time with such a large sum,
to show your friendship and brotherly affection by helping
me at once with as much as you can spare , for I am really
in very great need. You certainly cannot doubt my
integrity, for you know me too well for that. Nor can you
distrust my assurances, my behaviour or my mode of life,
as you are well acquainted with my manner of living and
my conduct. Consequently, forgive me for thus confiding
in you, for I am absolutely convinced that only the im
possibility of doing so will prevent you from helping your
friend. If you can and if you will entirely relieve me, I
shall return thanks to you as my saviour, even beyond
the grave, for you will be enabling me to enjoy further
happiness on earth. But if you cannot do this, then I beg
and implore you, in God's name, for whatever temporary
assistance you can give me and also for your advice and
comforting sympathy.

Ever your most grateful servant

MOZART

1 A watering-place and health resort about seventeen miles south of Vienna.

1386

I78g MOZART TO HIS WIFE L. 570

P.S. — My wife was wretchedly ill again yesterday.
To-day leeches were applied and she is, thank God,
somewhat better. I am indeed most unhappy, and am
forever hovering between hope and fear! Dr. Closset came
to see her again yesterday.1

(569) Mozart to Michael Puchberg

[From Nottebohm, Mozartiana, p. 85]

VIENNA, second half of July -, 1789
DEAREST FRIEND AND BROTHER!

Since the time when you rendered me that great and
friendly service, I have been living in such misery y that for
very grief not only have I not been able to go out, but I
could not even write.

At the moment she is easier, and if she had not con-
traded bed-sores, which make her condition most wretched,
she would be able to sleep. The only fear is that the bone
may be affected. She is extraordinarily resigned and
awaits recovery or death with true philosophic calm. My
tears flow as I write. Come and see us, most beloved friend,
if you can; and, if you can, give me your advice and help

in the matter you know of.

MOZART

(570) Mozart to his Wife at Baden 2

[From Nottebohm, Mozartiana, p. 35]

VIENNA, middle of August, 1789
DEAREST LITTLE WIFE!

I was delighted to get your dear letter — and I trust
that you received yesterday my second one together with

1 Puchberg noted on this letter, "answered the same day, July iyth, 1789,
and sent 150 gulden".

2 This and the following letters to Constanze are addressed to her at
Baden, where she had gone for her health.

1387

L. 570 MOZART TO HIS WIFE 776*9

the infusion, the electuaries and the ants' eggs. I shall
sail off to you at five o'clock to-morrow morning. Were
it not for the joy of seeing you again and embracing you,
I should not drive out to Baden just yet, for "Figaro" is
going to be performed very soon,1 and as I have some
alterations to make, my presence will be required at the
rehearsals. I shall probably have to be back here by the
i gth. But to stay here until the igth without you would
be quite impossible. Dear little wife! I want to talk to you
quite frankly. You have no reason whatever to be un
happy. You have a husband who loves you and does all
he possibly can for you. As for your foot, you must just
be patient and it will surely get well again. I am glad
indeed when you have some fun — of course I am — but I
do wish that you would not sometimes make yourself so
cheap. In my opinion you are too free and easy with
N.N.2 , . . and it was the same with. N.N., when he was
still at Baden. Now please remember that N.N. are not half
so familiar with other women, whom they perhaps know
more intimately, as they are with you. Why, N.N. who is
usually a well-conducted fellow and particularly respect
ful to women, must have been misled by your behaviour
into writing the most disgusting and most impertinent
sottises which he put into his letter. A woman must
always make herself respected, or else people will begin
to talk about her. My love! Forgive me for being so
frank, but my peace of mind demands it as well as our
mutual happiness. Remember that you yourself once
admitted to me that you were inclined to comply too
easily. You know the consequences of that. Remember
too the promise you gave to me. Oh, God, do try, my love!

1 "Le Nozze di Figaro" was revived in Vienna during the summer of

1789-

2 In this and the following letters to his wife certain names have been
crossed out by a later hand.

1388

MOZART (1789)

From a silver point drawing by Doris Stock
(Musikbibliothek Peters, Leipzig)

1789 MOZART TO HIS WIFE Z. 571

Be merry and happy and charming to me. Do not tor
ment yourself and me with unnecessary jealousy. Believe
in my love, for surely you have proofs of it, and you
will see how happy we shall be. Rest assured that it is
only by her prudent behaviour that a wife can enchain
her husband. Adieu. To-morrow I shall kiss you most
tenderly.

MOZART

(571) Mozart to his Wife at Baden

[From Nottebohm^ Mozartianat p. 27]

DEAREST LITTLE WIFE! VIENNA, end of August, 1789

I arrived here safely at a quarter to eight l and when
I knocked at my door — Hofer has written this, who
happens to be here and sends you greetings — I found it
closed, as the servant was not at home. I waited in vain
for about a quarter of an hour, then I drove to Hofer's,
imagined I was at home and finished dressing there. The
little aria, which I composed for Madame Ferraresi,2
ought, I think, to be a success, provided she is able to
sing it in an artless manner, which, however, I very
much doubt. She herself liked it very much. I have just
lunched at her house. I think that "Figaro'' will be per
formed on Sunday for certain, but I shall let you know
beforehand. How delighted I am when we hear it to
gether! I am off this very moment to see whether any
change has possibly been made in the arrangements. If
it is not going to be performed before Saturday, I shall
be with you to-day. Adieu, my love! Never go out walk
ing alone. The very thought of this terrifies me.
Ever your loving

MOZART

1 Mozart had been staying with his wife at Baden.

2 K. 579, "Un moto di gioia", an extra aria for Susanna in "Le Nozze
di Figaro". See Kochel, p. 728.

1389

Z. 572 MOZART TO HIS WIFE 1789

(572) Mozart to his Wife at Baden

[From Nottebohm, Mozartiana, p. 75]

VIENNA, Autumn, 1789
DEAREST LITTLE WIFE! Wednesday

I trust that you have received my letter. Well, I must
scold you a little, my love! Even if it is not possible for
you to get a letter from me, you could write all the same;
for must all your letters be replies to mine? I was most
certainly expecting a letter from my dear little wife — but
unfortunately I was mistaken. Well, you must make
amends and I advise you to do so, otherwise I shall never,
never forgive you. Yesterday I was at the second part of
"Cosa rara'V but I did not like it as much as "Die
Antons".2 If you return to Vienna on Saturday, you will
be able to spend Sunday morning here. We have been
invited to a service and to lunch at Schwechat.3 Adieu —
Take care of your health. A propos. N.N. (you know
whom I mean) is a cad. He is very pleasant to my face,
but he runs down "Figaro" in public — and has treated
me most abominably in the matters you know of —
/ know it for certain.

Your husband, who loves you with all his heart,

MOZART

1 "Una cosa rara", an opera composed by Vicente Martin y Solar (1754-
1810), which, on its production in Vienna in November 1786, completely
threw Mozart's "Figaro" into the shade. According to the recently published
monograph by 0. E. Deutsch, Das Wiener Freihaustheater, Vienna, 1937,
p. 1 6, the second part of this opera, "Der Fall ist noch weit seltner", by
Schikaneder and Schack, was first performed on May loth, 1790. Hence
Mozart's letter must have been written after that date.

* "Der dumme Gartner oder Die beiden Antons", an operetta by Benedict
Schack (1758-1826), a Czech, who in 1784 had joined Schikaneder's theatre
in Vienna, He was an excellent flautist, possessed a good tenor voice, and
created the part of Tamino in Mozart's "Zauberflote".

3 A small village near Vienna, where Mozart's friend Joseph Eybler
lived.

1390

1789 MOZART TO MICHAEL PUCHBERG Z. 575

(573) Mozart to Michael Puckberg

[From Nottebohm, Mozartiana> p. 63]

VIENNA, December 2$th, 1789
MOST HONOURABLE FRIEND AND B.O.

Do not be alarmed at the contents of this letter. Only
to you, most beloved friend, who know everything about
me and my circumstances, have I the courage to open my
heart completely. According to the present arrangement
I am to receive from the management next month 200
ducats for my opera.1 If you can and will lend me 400
gulden until then, you will be rescuing your friend from
the greatest embarrassment; and I give you my word of
honour that by that time you will have the money back in
full and with many thanks. In spite of the great expenses
I have to incur daily, I should try to hold out until then,
were it not the New Year, when I really must pay off the
chemists and doctors, whom I am no longer employing,
unless I wish to lose my good name. We have in particular
alienated Hundschowsky * (for certain reasons) in a
rather unfriendly fashion, so that I am doubly anxious
to settle accounts with him. Beloved friend and brother!
— I know only too well how much I owe you! I beg you
to be patient a little longer in regard to my old debts. I
shall certainly repay you, that I promise on my honour.
Once more I beg you, rescue me just this time from my
horrible situation. As soon as I get the money for my
opera, you shall have the 400 gulden back for certain.
And this summer, thanks to my work for the King of
Prussia,3 I hope to be able to convince you completely of
my honesty. Contrary to our arrangement we cannot have

1 "Cosl fan tutte", performed on January 26th, 1790.

2 Nottebohm, p. 64, n. i, suggests "Lichnowsky".

3 See p. 1384, n. 2.

1391

L. 574 MOZART TO MICHAEL PUCHBERG

any music at our house to-morrow — I have too much
work. By the way, if you see Zistler,1 you might tell him
this. But I invite you, you alone, to come along on
Thursday at 10 o'clock in the morning to hear a short
rehearsal of my opera,2 I am only inviting Haydn and
yourself. I shall tell you when we meet about Salieri's
plots, which, however, have completely failed already.
Adieu.

Ever your grateful friend and brother,

W. A. MOZART 3

(574) Mozart to Michael Puchberg

[From Nottebohm, Mozartiana, p. 57]

DEAREST FRIEND! VIENNA, January zotk, 1790

They forgot to deliver at the proper time your last
kind note. So I could not reply to it sooner. I am very
much touched by your friendship and kindness. If you
can and will send an extra hundred gulden, you will
oblige me very greatly.

We are having the first instrumental rehearsal in the
theatre to-morrow.4 Haydn is coming with me. If your
business allows you to do so and if you care to hear the
rehearsal, all you need do is to be so kind as to turn up
at my quarters at ten o'clock to-morrow morning and
then we shall all go there together.

Your most grateful friend

W. A. MOZART s
January 2oth, 1790.

1 Nottebohm, p. 64, n. 2, suggests the violinist, Joseph Zistler, who in
1782 became Konzertmeister at Pressburg.

2 "Cosi fan tutte." 3 Puchberg noted on this letter, "sent 300 gulden".

4 "Cosi fan tutte."

5 Puchberg noted on this letter, "sent on the same day 100 gulden".

1392

1790 MOZART TO MICHAEL PUCHBERG L. 576

(575) Mozart to Michael Puchberg

[From Notts bo km, Mozartiana, p. 56]

DEAREST FRIEND! VIENNA, February 2otk, 1790

Had I known that your supply of beer had almost
run out, I should certainly never have ventured to rob
you of it; I therefore take the liberty of returning here
with the second measure, as to-day I am already provided
with wine. I thank you heartily for the first one, and the
next time you have a supply of beer, pray send me a little
of it. You know how much I like it. I beg you, most
beloved friend, to lend me a few ducats just for a few days,
if you can do so, as I have to settle a matter at once, which
cannot be postponed. Forgive my importunity, which is
prompted by my complete confidence in your friendship.

Ever your

MOZART x

(576) Mozart to Michael Puchberg

[From Nottebohm, Mozartiana, p, 87]

VIENNA, end of March or beginning of April, 1 790

Herewith, dearest friend, I am sending you Handel's

life.2 When I got home from my visit to you the other

day, I found the enclosed note from Baron van Swieten.3

You will gather from it, as I did, that my prospects are

1 Puchberg noted on this letter, "sent on February 2Oth, 1790, 25 gulden".

2 John Mainwaring's Memoirs of the life of the late G. F. Handel, 1760,
which had appeared in 1761 in a German translation by Johann Mattheson.

3 Baron van Swieten was endeavouring to introduce Handel's oratorios to
the Viennese public and had already given some performances in the large
hall of the Hofbibliothek under the management of Joseph Starzer. On the
latter's death in 1787 Mozart was entrusted with the organisation of these
performances, and for this purpose reorchestrated Handel's "Acis and
Galatea" hi 1788, his "Messiah" in 1789, and his "Alexander's Feast" and
"Ode on St. Cecilia's Day" in 1790.

VOL. Ill 1393 Z

Z. 576 MOZART TO MICHAEL PUCHBERG 7790

now better than ever.1 I now stand on the threshold of
my fortune; but the opportunity will be lost for ever, if this
time I cannot make use of it. My present circumstances,
however, are such that in spite of my excellent prospects
I must abandon all hope of furthering my fortunes unless
I can count on the help of a staunch friend. For some time
you must have noticed my constant sadness — and only
the very many kindnesses which you have already
rendered me, have prevented me from speaking out.
Now, however — once more, but for the last time — I call
upon you to stand by me to the utmost of your power in
this most urgent matter which is going to determine my
whole happiness. You know how my present circum
stances, were they to become known, would damage the
chances of my application to the court, and how necessary
it is that they should remain a secret; for unfortunately
at court they do not judge by circumstances, but solely by
appearances. You know, and I am sure you are convinced
that if, as I may now confidently hope, my application is
successful, you will certainly lose nothing. How delighted
I shall be to discharge my debts to you! How glad I shall
be to thank you and, in addition, to confess myself
eternally your debtor! What a pleasant sensation it is to
reach one's goal at last — and what a blessed feeling it
is when one has helped another to do so! Tears prevent
me from completing the picture! In short! — my whole
future happiness is in your hands. Act according to the
dictates of your noble heart! Do what you can and re
member that you are dealing with a right-minded and
eternally grateful man, whose situation pains him even
more on your account than on his own.

MOZART 2

1 Since the death of Emperor Joseph II and the accession of Emperor
Leopold II Mozart had greater hopes of being appointed Kapellmeister to
the Viennese court. 2 Puchberg noted on this letter, "sent 150 gulden".

1394

1790 MOZART TO MICHAEL PUCHBERG Z. 577

(577) Mozart to Michael Puchberg

\Copy in the Preussische Staatsbibliothek, Berliri\

VIENNA, April %tk, 1790

You are right, dearest friend, not to honour me with a
reply! My importunity is too great. I only beg you to con
sider my position from every point of view, to remember
my cordial friendship and my confidence in you and to
forgive me! But if you can and will extricate me from
a temporary embarrassment, then, for the love of God,
do so! Whatever you can easily spare will be welcome. If
possible, forget my importunity and forgive me.

To-morrow, Friday, Count Hadik I has invited me to
perform for him Stadler's Quintet 2 and the Trio I com
posed for you.3 Hering4 is going to play. I should have
gone to see you myself in order to have a chat with
you, but my head is covered with bandages due to rheu
matic pains, which make me feel my situation still more
keenly. Again I beg you to help me as much as you can
just for this once\ and forgive me.

Ever your

MOZART 5

1 Field-marshal Count Andreas Hadik, President of the War Council in
Vienna. It was owing to his influence that Aloysia Weber had obtained her
appointment at the Vienna National Theatre.

2 K. 581, quintet in A major for clarinet and strings, composed in 1789
for Anton Stadler (1753-1812), an excellent clarinettist for whom Mozart
also wrote in 1791 his clarinet concerto in A major, K. 622.

3 K. 563, Divertimento in & for violin, viola and violoncello, composed
in 1788.

4 A banker and amateur violinist.

5 Puchberg noted on this letter, "sent on April 8th, 1790, 25 gulden in bank
notes".

1395

Z. 579 MOZART TO MICHAEL PUCHBERG 1790

(578) Mozart to Michael Puchberg

{From Nottebohm, Mozartiana^p. 57]

VIENNA, April 2$rd, 1790
DEAREST FRIEND AND BROTHER,

If you can send me something, even though it be
only the small sum you sent me last time, you will greatly
oblige your ever grateful friend and brother

MOZART '

(579) Mozart to Michael Puchberg

[From Nottebohm, Mozartiana, p. 62]

VIENNA, beginning of May, 1790
DEAREST, MOST BELOVED FRIEND AND BROTHER!

I am very sorry that I cannot go out and have a
talk with you myself, but my toothache and headache are
still too painful and altogether I still feel very unwell. I
share your view about getting some good pupils, but I
thought of waiting until I should be in our new quarters,2
as I intended to give lessons at home. In the meantime
I beg you to tell people about this plan of mine. I am also
thinking of giving subscription concerts at home during
the three months of June, July and August. So it is only
my present situation which is oppressing me. When I
move out of these quarters, I shall have to pay 275 gulden
towards my new home. But I must have something to
live on until I have arranged my concerts and until the
quartets 3 on which I am working have been sent to be
engraved. So, if only I had in hand 600 gulden at least,

1 Puchberg noted on this letter, "sent on April 23rd, 25 gulden".

2 The Mozarts moved early in October 1790 to the first floor of a house
in the Rauhensteingasse 970 (now no. 8). It was here that Mozart died.

3 K. 589 and 590. They were not engraved during Mozart's lifetime. See
p. 1384, n. 2.

1396

1790 MOZART TO THE ARCHDUKE FRANCIS Z. 580

I should be able to compose with a fairly easy mind. And
ah! I must have peace of mind. But what worries me
dreadfully at the moment is a debt to the haberdasher in
the Stock im Eisen,1 who, although he at first saw my
difficulty and said that he was content to wait, is now
demanding payment urgently and impatiently. The debt
amounts to 100 gulden. I wish with all my heart that I
were rid of this unpleasant business. Well, I have made
frank confession to you and I entreat you to do the
utmost that your means and true friendship permit.

Ever your

MOZART *

(580) Mozart to the Archduke Francis 3

[Autograph in the Mozarteum, Salzburg]
VIENNA, during the first half of May, 1790

YOUR ROYAL HIGHNESS,

I make so bold as to beg your Royal Highness very
respectfully to use your most gracious influence with His
Majesty the King with regard to my most humble petition
to His Majesty. Prompted by a desire for fame, by a love
of work and by a conviction of my wide knowledge, I
venture to apply for the post of second Kapellmeister,
particularly as Salieri,4 that very gifted Kapellmeister, has
never devoted himself to church music, whereas from my
youth up I have made myself completely familiar with
this style. The slight reputation which I have acquired
in the world by my pianoforte playing, has encouraged

1 A small place adjoining the Stefansplatz in Vienna.

2 Puchberg noted on this letter, "sent 100 gulden".

3 This is the unfinished draft of a petition to the Archduke Francis to use
his influence with his brother, King Leopold II, who had succeeded to the
throne on March I3th, 1790, and was crowned Emperor on October 9th.

4 Salieri had been appointed Court Kapellmeister in 1788.

1397

L. 581 MOZART TO MICHAEL PUCHBERG ^790

me to ask His Majesty for the favour of being entrusted
with the musical education of the Royal Family. In the
sure conviction that I have applied to the most worthy
mediators who, moreover, are particularly gracious to
me, I remain with the utmost confidence and shall l . . .

(581) Mozart to Michael Puchb erg

[Coj>y in the Preussische Staatsbibliothek, Berlin\

DEAREST FRIEND AND B.O. VIENNA, May ijth, 1790
You will have heard, no doubt, from your household
that I called on you yesterday, uninvited, as you had
given me permission to do. You know how things are
with me; in short, as I can find no true friends to help me,
I am obliged to resort to moneylenders; but as it takes
time to seek out the most Christian among this un-
Christian class of people, I am at the moment so destitute
that I must beg you, dearest friend, in the name of all
that is sacred, to assist me with whatever you can spare.
If, as I hope to do, I get the money in a week or a fort
night, I shall at once repay what you lend me now. Alas,
I must still ask you to wait patiently for the sums I have
already been owing you for such a long time. If you only
knew what grief and worry all this causes me. It has
prevented me all this time from finishing my quartets.2
I now have great hopes of an appointment at court, for
I have reliable information that the Emperor has not
sent back my petition with a favourable or damning
remark, as he has the others, but has retained it. That
is a good sign. Next Saturday I intend to perform my
quartets at home, and request the pleasure of your com
pany and that of your wife. Dearest, most beloved friend
and brother, do not withdraw your friendship because of

1 The autograph breaks off with these words. 2 See p. 1396, n. 3.

1398

1790 MOZART TO MICHAEL PUCHBERG L. 582

my importunity, but stand by me. I rely wholly on you
and am ever your most grateful

MOZART

P.S. — I now have two pupils and should very much
like to raise the number to eight. Do your best to spread
the news that I am willing to give lessons.1

(582) Mozart to Michael Puchberg

\From Nottebohm, Mozartiana, p. 85]

DEAREST FRIEND AND B.O., VIENNA, June i2tky 1790
I have returned to town in order to conduct my
opera.2 My wife is slightly better. She already feels some
relief, but she will have to take the baths sixty times —
and later on in the year she will have to go out there
again. God grant that it may do her good. Dearest
friend, if you can help me to meet my present urgent
expenses, oh, do so! For economy's sake I am staying
at Baden and only come into town when it is absolutely
necessary. I have now been obliged to give away my
quartets 3 (those very difficult works) for a mere song,
simply in order to have cash in hand to meet my present
difficulties. And for the same reason I am now composing
some clavier sonatas.4 Adieu. Send me what you can most
easily spare. One of my masses 5 is being performed to
morrow at Baden. Adieu. About ten o'clock.

Ever your

MOZART
P.S. — Please send me the viola as well.6

1 Puchberg noted on this letter, "sent, on May ryth, 150 gulden".

2 "Cosl fan tutte." 3 See p. 1384, n. 2.

* There is no trace of these works. So far as we know, Mozart's last clavier
sonata was K. 576, composed in 1789.
s Probably K. 317. See p. 1413* n- 3-
6 Puchberg noted on this letter, "sent, on June I2th, 25 gulden".

1399

L. 584 MOZART TO HIS WIFE 2-790

(583) Mozart to Michael Puchberg

\From Nottebohm% Mozartiana, p. 53]

VIENNA, August iqth, 1790
DEAREST FRIEND AND BROTHER,

Whereas I felt tolerably well yesterday, I am
absolutely wretched to-day. I could not sleep all night
for pain. I must have got overheated yesterday from
walking so much and then without knowing it have
caught a chill. Picture to yourself my condition — ill and
consumed with worries and anxieties. Such a state quite
definitely prevents me from recovering. In a week or a
fortnight I shall be better off — certainly — but at present
I am in want! Can you not help me out with a trifle?
The smallest sum would be very welcome just now. You
would, for the moment at least, bring peace of mind to
your true friend, servant and brother

W. A. MOZART I

(584) Mozart to his Wife 2

{Autograph sold by V. A. Heck, Vienna, Catalogue 58]

FRANKFURT AM MAIN, September 28t&, 1790
DEAREST, MOST BELOVED LITTLE WIFE OF MY HEART!

We have this moment arrived, that is, at one o'clock
in the afternoon; so the journey has only taken us six
days. We could have done it still more quickly, if on three

1 Puchberg noted on this letter, "sent, on August I4th, 1790, 10 gulden".

z This and the following letters were written from Frankfurt am Main,
which Mozart visited in the hope of getting work in connection with the
coronation of the Emperor Leopold II on October 9th. He took as his
companion his brother-in-law, Franz de Paula Hofer. They left Vienna on
September 23rd.

1400

1790 MOZART TO HIS WIFE L. 584

occasions we had not rested a little at night. Well, we
have just alighted at an inn in the suburb of Sachsen-
hausen, and are in the seventh heaven of delight at
having secured a room. So far we do not yet know what
our fate will be, I mean, whether we shall be together or be
separated. If I cannot get a room anywhere for nothing
and if I do not find the inns too expensive, I shall certainly
stay on here. I hope that you received my letter from
Efferding.1 I could not write more to you during our
journey, as we stopped seldom and then only to rest. The
journey was very pleasant, and we had fine weather
except on one day; and even this one day caused us no
discomfort, as my carriage (I should like to give it a
kiss!) is splendid. At Regensburg we lunched magnifi
cently to the accompaniment of divine music, we had
angelic cooking and some glorious Moselle wine. We
breakfasted at Nuremberg, a hideous town. At Wiirz-
burg, a fine, magnificent town, we fortified our precious
stomachs with coffee. The food was tolerable everywhere,
but at Aschaffenburg, two and a half stages from here,
mine host was kind enough to fleece us disgracefully.

I am longing for news of you, of your health, our affairs
and so forth. I am firmly resolved to make as much money
as I can here and then return to you with great joy. What
a glorious life we shall have then! I will work — work so
hard — that no unforeseen accidents shall ever reduce us
to such desperate straits again. I should like you to get
Stadler to send N.N. to you about that matter. His last
suggestion was that the money should be advanced on
Hoffmeister's draft alone, that is, 1000 gulden in cash
and the remainder in cloth. Then everything could be
paid off, we should have a little over, and on my return I
should have nothing to do but work. The whole business

1 There is no trace of this letter, which must have been sent off on Sep
tember 24th or 25th.

I4OI

Z. 585 MOZART TO HIS WIFE i7go

could t>e settled by a friend with carte blanche from me.
Adieu. I kiss you a thousand times.

Ever your

MZT

(585) Mozart to his Wife

[Autograph in the possession of Arturo Toscanint]

FRANKFURT AM MAIN, September 30^, 1790
DEAREST LITTLE WIFE OF MY HEART!

If only I had a letter from you, all would be well. I
hope that you have received mine from Efferding l and
Frankfurt. In my last one I told you to speak to Red-
currant Face.2 For safety's sake I should very much like
to raise 2000 gulden on Hoffmeister's draft. But you will
have to give some other reason; you may say, for example,
that I am making some speculation about which you know
nothing. My love, there is no doubt whatever that I shall
make something in this place, but certainly not as much
as you and some of my friends expect. That I am both
known and respected here is undeniable. Well, we shall
see. But as in every case I prefer to play for safety, I
should like to make that deal with H — • — ,3 as I shall thus
obtain some money and not have to pay anything; all I
shall have to do is to work and that I shall willingly do
for the sake of my dear little wife. When you write to me,
always address your letters, Poste Restante. Where do
you think I am living? In the same house as Bohm,4 and
Hofer is with me too. We pay thirty gulden a month,
which is wonderfully cheap, and we also take our meals

1 See p. 1401, n. i.

2 Mozart's nickname for Anton Stadler. 3 Probably Hoffmeister.
4 Johannes B ohm's theatrical company had been giving- performances in

Frankfurt since 1780. On October I2th and 22nd they produced Mozart's
"Entfuhrung aus dem Serail" and "La finta giardiniera", the latter
in a German translation. Bohm was living in the Kalbachergasse, near the
theatre,

1402

I79o MOZART TO HIS WIFE L. 586

there. And whom do you think I have come across? The
girl who so often played hide-and-seek with us in the
Auge Gottes. I think her name was Buchner. She is now
Madame Porsch : and this is her second marriage. She
asks me to send you all sorts of kind messages. As I do
not know whether you are at Baden or Vienna, I am
addressing this letter again to Madame Hofer.2 I am as
excited as a child at the thought of seeing you again. If
people could see into my heart, I should almost feel
ashamed. To me everything is cold — cold as ice. Perhaps
if you were with me I might possibly take more pleasure
in the kindness of those I meet here. But, as it is, every
thing seems so empty. Adieu, my love. I am ever your
husband, who loves you with all his soul,

MOZART
Frankfurt am Main, September 3Oth, 1790.

(586) Mozart to his Wife

Nottebohm, Mozartiana, p. 44]

FRANKFURT AM MAIN, October ^rd, 1790
DEAREST, MOST BELOVED LITTLE WIFE!

At last I feel comforted and happy. First of all,
because I have had news from you, my love, news for
which I was simply aching; and, secondly, on account of
the reassuring information about my affairs. I have now
made up my mind to compose at once the Adagio for the
watchmaker 3 and then to slip a few ducats into the hand

1 Porsch was an actor at the Frankfurt National Theatre.

* Josefa, Constanze's eldest sister, who since 1788 had been married to
Hofer.

3 K. 594, adagio and allegro in F minor and major for a mechanical organ,
composed for Count Josef Deym, owner of the M tiller waxworks, on the
occasion of the exhibition of the effigy of the late Field-marshal Laudon, who
had died on July I4th, 1 79O.This work has been published only in a transcription
as a piano duet. For the same instrument Mozart wrote in 1791. K. 608, fantasy
in F minor, and K. 616, andante in F major. See also p. 147 9, n. I.

1403

L. 586 MOZART TO HIS WIFE i79o

of my dear little wife. And this I have done; but as it
is a kind of composition which I detest, I have unfor
tunately not been able to finish it. I compose a bit of it
every day — but I have to break off now and then, as I get
bored. And indeed I would give the whole thing up, if
I had not such an important reason to go on with it. But
I still hope that I shall be able to force myself gradually to
finish it. If it were for a large instrument and the work
would sound like an organ piece, then I might get some
fun out of it. But, as it is, the works consist solely of little
pipes, which sound too high-pitched and too childish for
my taste.

Up to the present I have been living here altogether
in retirement. Every morning I stay indoors in my
hole of a bedroom and compose. My sole recreation is the
theatre, where I meet several acquaintances from Vienna,
Munich, Mannheim and even Salzburg. Franz Lang, the
horn player, and Gres, the Treasurer, are here — and old
Wendling too with his Dorothea. This is the way I should
like best of all to go on living — but — I fear that it will
soon come to an end and that I am in for a restless life.
Already I am being invited everywhere — and however
tiresome it may be to let myself be on view, I see never
theless how necessary it is. So in God's name I submit to
it. Well, it is probable that my concert may not be a
failure. I wish it were over, if only to be nearer the time
when I shall once more embrace my love! On Tuesday
the theatrical company of the Elector of Mainz are per
forming "Don Giovanni" in my honour.1 Farewell, my
love. Give my greetings to the few friends who wish me
well. Take care of your health which is so precious to me
and be ever my Constanze as I shall ever be your

MOZART

1 This performance did not take place. But "Figaro" was performed during
Mozart's stay at Frankfurt.

1404

I79o MOZART TO HIS WIFE L. 587

Remember, keep on writing to me even though you
only send me a few lines.

P.S. — I lunched yesterday with Herr Schweitzer, the
wealthiest banker in all Frankfurt. Mile Crux is here too.
I have not yet seen the girl, but Madame Quallenberg
tells me that she has grown so tall and buxom that I shan't
recognise her. Adieu.

The state entry takes place to-morrow — Monday, and
the coronation a week later.1

(587) Mozart to his Wife

[A utograph in the possession of Frau Floersheim-Koch^ Florence]

FRANKFURT AM MAIN, October StA, 1790
DEAREST, MOST BELOVED LITTLE WIFE!

I have now had three letters from you, my love. That
of September 28th has this moment arrived. I have not
yet received the one you sent by Herr von Alt, but I shall
make enquiries about it at once at Le Noble's. You must
now have had four letters from me.2 This is the fifth. You
will not be able to write to me any more, for in all
probability when you read this letter I shall no longer be
here, as I intend to give my concert on Wednesday or
Thursday and then on Friday forthwith — tschiri-tschitschi
— seek safety in flight! Dearest little wife! I trust that
you have dealt with the business about which I wrote to
you, and are still dealing with it. I shall certainly not
make enough money here to be able to pay back 800 or
1000 gulden immediately on my return. But if the business
with Hoffmeister is at least so far advanced that only my
presence is required, then, after deducting interest at the

1 The coronation took place on October 9th.
2 See p. 1401, n. I.

1405

L. 587 MOZART TO HIS WIFE i79o

rate of 20%, I shall have 1600 out of 2000 gulden. I can
then pay out 1000 gulden and shall have 600 left. Well, I
shall begin to give little quartet subscription concerts in
Advent and I shall also take pupils. I need never repay
the sum, as / am composing for Hoffmeister — so every
thing will be quite in order. But please settle the affair
with Hoffmeister, that is, if you really want me to return.
If you could only look into my heart. There a struggle is
going on betv/een my yearning and longing to see and
embrace you once more and my desire to bring home a
large sum of money. I have often thought of travelling
farther afield, but whenever I tried to bring myself to take
the decision, the thought always came to me, how bitterly
I should regret it, if I were to separate myself from my
beloved wife for such an uncertain prospect, perhaps even
to no purpose whatever. I feel as if I had left you years
ago. Believe me, my love, if you were with me I might
perhaps decide more easily, but I am too much accustomed
to you and I love you too dearly to endure being separated
from you for long. Besides, all this talk about the
Imperial towns is mere misleading chatter. True, I am
famous, admired and popular here; on the other hand, the
Frankfurt people are even more stingy than the Viennese.
If my concert is at all successful, it will be thanks to my
name, to the Countess Hatzfeldt and the Schweitzer
family who are working hard on my behalf. But I shall be
glad when it is over. If I work very hard in Vienna and
take pupils, we can live very happily; and nothing but a
good engagement at some court can make me abandon
this plan. But do your best with the help of Red-currant
Face * or someone else to conclude that business with
Hoffmeister and to make known generally my intention
to take pupils. Then we shall certainly have enough to
live on. Adieu, my love. You will still get a few more

1 See p. 1402, n. 2.
1406

1790 MOZART TO HIS WIFE L. 588

letters from me. But I, alas! can get no more from you.

Ever love your own

MOZART
Frankfurt am Main, October 8th, 1790.

The Coronation is to-morrow.

Take care of your health — and be careful when you go
out walking. Adieu.

(588) Mozart to his Wife

\From Nottebohm, Mozartiana, p. 84]

FRANKFURT AM MAIN, October \$th> 1790
DEAREST LITTLE WIFE OF MY HEART!

I have not yet received a reply to any of my letters
from Frankfurt, which makes me rather anxious. My
concert took place at eleven o'clock this morning.1 It was
a splendid success from the point of view of honour and
glory, but a failure as far as money was concerned.
Unfortunately some Prince was giving a big dejeuner and
the Hessian troops were holding a grand manoeuvre. But
in any case some obstacle has arisen on every day during
my stay here. You can't imagine how — .2 But in spite
of all these difficulties I was in such good form and
people were so delighted with me that they implored me
to give another concert next Sunday. I shall therefore
leave on Monday. I must close this letter, or I shall miss
the post. I gather from your letters that you have not yet
received any from me from Frankfurt. Yet I sent you
four. Moreover I seem to notice that you doubt my

1 Mozart played his piano concertos K. 459 and K. 537, the so-called
coronation concerto. He also accompanied Hofer in a violin sonata and
played a piano duet with Beecke.

2 Nottebohm, the only source for this letter, omits the word or words.
According to Dr. A. Einstein they may be about the wretched performance
of Margarete Schick (nle Hampel), who sang an aria and a duet with
Ceccarelli.

1407

Z. 590 MOZART TO HIS WIFE i79a

punctuality or rather my eagerness to write to you, and
this pains me bitterly. Surely you ought to know me
better. Good God! Only love me half as much as I love
you, and I shall be content. Ever your

MOZART
Frankfurt, October I5th, 1790.

(589) Mozart to his Wife

\Cofiy in the Preussische Staatsbibliothek, Berlin\

MAINZ, October 17 th, 1790 x

P.S. — While I was writing the last page, tear after tear
fell on the paper. But I must cheer up — catch! — An
astonishing number of kisses are flying about — The
deuce! — I see a whole crowd of them! Ha! Ha! ... I have
just caught three — They are delicious! — You can still
answer this letter, but you must address your reply to
Linz, Poste Restante — That is the safest course. As I do
not yet know for certain whether I shall go to Regens-
burg, I can't tell you anything definite. Just write on
the cover that the letter is to be kept until called for.
Adieu — Dearest, most beloved little wife — Take care of
your health — and don't think of walking into town. Do
write and tell me how you like our new quarters 2 —
Adieu. I kiss you millions of times.

(590) Mozart to his Wife

[From Nottebohm, Mozartiana, p. 29]

MANNHEIM, October zydt 1790
DEAREST, MOST BELOVED LITTLE WIFE OF MY HEART!

We are going to Schwetzingen to-morrow to see the
gardens. In the evening " Figaro" will be given here for

1 The letter to which this is a postscript has unfortunately been lost.
2 See p. 1396, n. 2.

1408

1790 MOZART TO HIS WIFE Z. 591

the first time. We shall leave the day after to-morrow. It
is "Figaro" which is responsible for my being here still,
for the whole cast implored me to stay on and help them
with the rehearsals. " Figaro" too is the reason why I cannot
write as much to you as I should like to, for it is just the
time for the dress rehearsal. Why, the first act at least will
already be over. I trust that you received my letter of the
iyth from Mainz. The day before my departure I played
before the Elector, but only received the meagre sum of
fifteen carolins. Get things going so that that affair with
Hoffmeister may be concluded. I now hope to embrace
you for certain in a fortnight, that is, six or seven days
after you receive this letter. But you will still get letters
from me from Augsburg, Munich and Linz. You, how
ever, cannot send any more letters to me. All the same if
you write immediately after receiving this letter, I can
still get your reply at Linz. Do try to do this. Now, fare
well, dearest little wife! I kiss you a thousand times and
am ever and unchangingly your faithful husband

MOZART

(591) Mozart to his Wife

[Copy in the Preussische Staatsbibliothek, £erlin\

MUNICH, November 2nd, 1790
DEAREST, MOST BELOVED LITTLE WIFE OF MY HEART!

You have no idea how much it pains me that I have
to wait until I get to Linz before I can have news from you.
Patience; for if one does not know how long one is going
to stay in a place, it is impossible to make better arrange
ments. Though I would have gladly prolonged my stay
with my old Mannheim friends, I only wanted to spend
a day here; but now I am obliged to remain until the 5th
or 6th, as the Elector has asked me to perform at a concert
which he is giving for the King of Naples. It is greatly to

VOL. in 1409 2 A

Z. 59J MOZART TO HIS WIFE I?9o

the credit of the Viennese court that the King has to hear
me in a foreign country.1 You can well imagine that I have
had a good time with the Cannabichs, la bonne Madame
Ramm, Marchand and Brochard, and that we have talked
a great deal about you, my love. I am looking forward to
seeing you, for I have a great deal to discuss with you. I
am thinking of taking this very same journey with you,
my love, at the end of next summer, so that you may try
some other waters. At the same time the company, the
exercise and the change of air will do you good, for it has
agreed very well with me. I am greatly looking forward to
this, and so are all my friends.

Forgive me for not writing as much as I should like to,
but you cannot conceive what a fuss they are making of
me. I must now be off to Cannabich's, where a concerto
is being rehearsed. Adieu, dear little wife. According to
my calculation I cannot expect an answer to this letter.
Farewell, my love, I kiss you millions of times and am
ever, until death, your loving husband

MOZART

P.S. — Gretl2 is now married to Madame Le Brun's3
brother, so her name is Madame Danzi. Little Hannah
Brochard 4 is now sixteen and alas! her looks have been
spoilt by smallpox. What a pity! She never stops talking
about you. She plays the clavier very nicely.

1 Mozart is alluding to the visit to Vienna in September 1790 of King
Ferdinand and Queen Caroline of Naples for the celebration of the double
wedding of their daughters, Maria Theresa and Louise, to the Archdukes
Francis and Ferdinand. The festivities consisted of performances of operas by
S alien and Weigl and a concert at which works by Haydn and other com
posers were rendered. Mozart was entirely neglected.

2 Margarete Marchand, Leopold Mozart's former pupil, married in 1790
Franz Danzi (1763-1826), 'cellist in the Munich court orchestra.

3 Franziska Danzi, daughter of the Mannheim 'cellist, Innocenz Danzi,
had married in 1778 the Mannheim oboist, Ludwig August Le Brun.

4 Maria Johanna Brochard, cousin of Heinrich and Margarete Marchand,
had been Leopold Mozart's pupil.

1410

i?gi MOZART TO MICHAEL PUCHBERG L. 593

(592) Mozart to Michael Puchberg

[From Nottebohm, Mozartiana, p. 52]

VIENNA, April i$th, 1791
MOST VALUED FRIEND AND BROTHER!

I shall be drawing my quarterly pay on April 2oth,
that is, in a week. If you can and will lend me until
then about twenty gulden, you will oblige me very much,
most beloved friend, and you will have it back with very
many thanks on the aoth, as soon as I draw my money. I
am anxiously awaiting the sum. Ever your most grateful
friend

MOZART I
April 1 3th, 1791.

(593) Mozart to Michael Puchberg

{Autograph in the possession of Heinrich Eisemann, London}

VIENNA, between April list and 27 th, 1791
I trust that Orsler 2 has returned the keys. It was not
my fault. Further I hope that on my behalf he has asked
you in advance to lend me for to-day a violin and two
violas. They are for a quartet at Greiner's.3 You know
already that I am very anxious to have them. If you
should care to come to our little concert in the evening,
both he and I most politely invite you to do so.

MOZART

1 Puchberg noted on this letter, "sent, on April ijth, 1791, 30 gulden".

2 Joseph Orsler, who from 1772 to 1806 was 'cellist in the Vienna court
orchestra.

3 Court Councillor von Greiner (1732-1798), the father of Caroline
Pichler, write^ and musician. For an excellent account of her connection
with Mozart see Bliimml, pp. 104-118.

1411

L.594 MOZART TO THE COUNCIL OF VIENNA 1791

P.S. — Please forgive me for not having repaid, as I
promised to do, the sum you know of. But Stadler, who
was to have gone to the pay office for me, because I have
so much to do, altogether forgot about the 2Oth. So I
must wait for another week.

(594) Mozart to the Municipal Council of Vienna

{Autograph in the possession of Frau Floersheim-Koch, Florence]

VIENNA, beginning of May, 1791
MOST HONOURABLE AND MOST LEARNED MUNICIPAL
COUNCILLORS OF VIENNA!
MOST WORTHY GENTLEMEN!

When Kapellmeister Hofmann T was ill, I thought
of venturing to apply for his post, seeing that my
musical talents, my works and my skill in composi
tion are well known in foreign countries, my name is
treated everywhere with some respect, and I" myself was
appointed several years ago composer to the distin
guished court of Vienna. I trusted therefore that I was
not unworthy of this post and that I deserved the favour
able consideration of our enlightened municipal council.

Kapellmeister Hofmann, however, has recovered his
health and in the circumstances — for I wish him from
my heart a long life — it has occurred to me that it might
perhaps be of service to the Cathedral and, most worthy
gentlemen, to your advantage, if I were to be attached
for the time being as unpaid assistant to this ageing
Kapellmeister and were to have the opportunity of help
ing this worthy man in his office, thus gaining the appro
bation of our learned municipal council by the actual
performance of services which I may justly consider

1 Leopold Hofmann (c. 1730-1793), Kapellmeister at the Stefanskirche
in Vienna.

1412

1791 MOZART TO CHOIR-MASTER STOLL L. 595

myself peculiarly fitted to render on account of my
thorough knowledge of both the secular and ecclesiastical
styles of music.

Your most humble servant,

WOLFGANG AMADE MOZART
Royal and Imperial Court Composer1

(595) Mozart to Choir-master Stoll 2 at Baden

[Copy in the Preussische Staatsbibliothek, Berlin\

DEAR OLD STOLL! VIENNA, beginning of June y 1791

Don't be a poll!

Primo. I should like to know whether Stadler called on
you yesterday and asked you for this mass: 3

Did he? Well then, I hope that I shall get it to-day. If
not, please be so kind as to send it to me at once and,
remember, with all the parts. I shall return it very soon.

Secondo. Will you please find a small apartment for my
wife? She only needs two rooms, or one room and a
dressing-room. But the main thing is that they should
be on the ground floor. The rooms I should prefer are
those which Goldhahn 4 used to occupy on the ground
floor at the butcher's. Please enquire there first; perhaps
they are still to let. My wife is going out to Baden on

1 The Municipal Council of Vienna granted Mozart's request, but Kapell
meister Hofmann outlived the petitioner. His successor was Johann Georg
Albrechtsberger.

2 Anton Stoll (1748-1805), school teacher and choir-master of Baden near
Vienna. Mozart wrote for him on June I7th, 1791, his motet K. 618, "Ave,
verum corpus" for four voices, strings and organ.

3 K. 317, composed in 1779, Mozart's so-called coronation mass.

4 Josef Odilo Goldhahn was one of Mozart's acquaintances in Vienna.

HI3

Z. 596 MOZART TO HIS WIFE j79j

Saturday, or Monday, at latest. If we cannot have these
rooms, then you must look for something fairly near the
baths; but the important point is that they should be on
the ground floor. The ground floor at the town notary's,
where Dr. Alt stayed,1 would do very well, but the rooms
at the butcher's would be best of all.

Terzo. I should like to know whether the theatre in
Baden is open yet?

Please reply as quickly as possible and send me
information on these three points.

MOZART

P.S. — My address is: In the Rauhensteingasse, in the
Kaiserhaus, No. 970, first floor.

P.S. — This is the silliest letter I have ever written in
my life; but it is just the very thing for you.

(596) Mozart to his Wife at Baden

[Prom Nottebohm, Mozartiana, p. 24]
MA TRES CHERE EPOUSE! VIENNA, June 5 th, 179!

I hope that on alighting from the carriage my letter
handed you Sabinde and that after you read Sabinde, you
were very glad that I let it go off for a drive to Baden.
It slept with me last night and I wrote Sabinde early this
morning — ss — ss — a. A whole crowd of people were made
fools of to-day in St. Stefan. Madame Schwingenschuh
and Lisette called on me very early in the morning and I told
them so. Then I sent Lori 2 to church to tell Jacquin and
Schafer at once. They both came to see me immediately.
I then sent another message, as they had seen Hofmann
go to the choir. I shall fly to you on Wednesday in the

1 Stoll took these rooms in the Renngasse for Constanze. See MM. May
1920, pp. 109-112. 2 Leonore, the Mozarts' maidservant.

1414

1791 MOZART TO HIS WIFE L. 597

company of the Schwingenschuhs. I am sleeping to-night
at Leutgeb's — and the whole time I am thinking that I
have given Lori the consilium abeundi. I am looking
forward to reading a letter from you soon. Adieu, my
love. Ever your husband

MOZART

(597) Mozart to his Wife at Baden

\Autograph in the Mozarteum, Salzburg}
MA TRES CHERE EPOUSE! VIENNA, June 6thy 1791

J'ecris cette lettre dans la petite chambre au jardin
chez Leutgeb ou j'ai couche cette nuit excellemment — et
j'espere que ma chere epouse aura passe cette nuit aussi
bien que moi. J'y passerai cette nuit aussi, puisque j'ai
congedie Leonore et je serais tout seul a la maison, ce qui
n'est pas agreable.

J 'attends avec beaucoup d'impatience une lettre qui
m'apprendra comme vous avez passe le jour d'hier. Je
tremble quand je pense au bain de Saint Antoine, car
je crains toujours le risque de tomber sur Tescalier en
sortant — et je me trouve entre Tesperance et la crainte —
une situation bien desagreable! Si vous n'etiez pas grosse,
je craignerais moins.1 Mais abandonnons cette idee triste!
Le ciel aura eu certainement soin de ma chere Stanzi-
Marini.2

Madame de Schwingenschuh m'a prie de leur procurer
une loge pour ce soir au theatre de Wieden,3 oil Ton
donnera la cinquieme partie d' Antoine 4, et j'etais si
heureux de pouvoir les servir. J'aurai done le plaisir de
voir cet opera dans leur compagnie.

1 The Mozarts' sixth child, Franz Xaver Wolfgang, was born on July 26th,
1791. He became a professional pianist and died at Karlsbad in 1844.

2 One of Mozart's pet-names for Constanze. 3 Schikaneder's theatre.
4 " Anton bei Hofe", an opera by Benedict Schack.

HIS

L. 598 MOZART TO HIS WIFE i?gi

I have this moment received your dear letter and am
delighted to hear that you are well and in good spirits.
Madame Leutgeb has laundered my nightcap and neck
tie, but I should like you to see them! Good God! I kept
on telling her, "Do let me show you how she (my wife] does
them\" — But it was no use. I am delighted that you have
a good appetite — but whoever gorges a lot, must also shit
a lot — no, walk a lot, I mean. But I should not like you
to take long walks without me. I entreat you to follow
my advice exactly, for it comes from my heart. Adieu —
my love — my only one. Do catch them in the air — those
2999i little kisses from me which are flying about, waiting
for someone to snap them up. Listen, I want to whisper
something in your ear — and you in mine — and now we
open and close our mouths — again — again and again — at

last we say: "It is all about Plumpi — Strumpi " Well,

you can think what you like — that is just why it's so con
venient. Adieu. A thousand kisses. Ever your

MOZART
June 6th, 1791.

(598) Mozart to his Wife at Baden

[From Nottebohm, Mozartiana, p. 1 1]

th, 1791

N.B. — Since you headed your letter Vienna,
I must head mine Baden.

DEAREST, MOST BELOVED LITTLE WIFE!

I simply cannot describe my delight at receiving
your last letter of the 6th, which told me that you are
well and in good health, and that, very sensibly, you are
not taking baths every day. Heavens! How delighted I

1 Mozart was writing from Vienna.
1416

MOZART TO HIS WIFE L. 598

should have been if you had come to me with the Wild-
burgs! Indeed I was wild with myself for not telling you
to drive into town — but I was afraid of the expense. Yet
it would have been charmant if you had done so. At five
o'clock to-morrow morning, we are all driving out, three
carriagefuls of us, and so between nine and ten I expect
to find in your arms all the joy which only a man can feel
who loves his wife as I do! It is only a pity that I can't
take with me either the clavier or the bird! That is
why I would rather have gone out alone; but, as it is, I
can't get out of the arrangement without offending the
company.

I lunched yesterday with Sussmayr l at the "Un-
garische Krone",2 as I still had business in town at one

o'clock, — as S 3 has to lunch early and Mme S ,

who wanted me very much to lunch with them one of
these days, had an engagement at Schonbrunn. To-day
I am lunching with Schikaneder, as you know, since you
too were invited.

So far I have had no letter from Mme Duschek; but
I shall enquire again to-day. I can't find out anything
about your dress, as I have not seen the Wildburgs since.
If it is at all possible, I shall certainly bring your hat with
me. Adieu, my little sweetheart. I simply cannot tell you
how I am looking forward to to-morrow. Ever your

MOZART

1 Franz Xaver Sussmayr (1766-1803), born at Schwanenstadt in Upper
Austria, became a pupil of Mozart in composition. He accompanied Mozart
and Constanze to Prague in August 1791, and was probably responsible for
certain portions of Mozart's opera "La Clemenza di Tito". He completed
Mozart's Requiem after the composer's death. See Abert, vol. ii. p. 850 S.

2 A restaurant in the Himmelpfortgasse, which still exists.

3 Possibly Benedict Schack, who had married a contralto singer.

1417

L. 599 ' MOZART TO HIS WIFE 1791

(599) Mozart to his Wife at Baden

[From No tteb ohm, Mozartiana, p. 46]
MA TRES CHERE EPOUSE! VIENNA, June llth> 1791

Criez avec moi centre mon mauvais sort! Mile.
Kirchgessner l ne donne pas son academie lundi !2 Par
consequent j'aurais pu vous posseder, ma chere, tout ce
jour de dimanche. Mercredi je viendrai surement.

I must hurry, as it is already a quarter to seven — and
the coach leaves at seven. When you are bathing, do take
care not to slip and never stay in alone. If I were you I
should occasionally omit a day in order not to do the cure
too violently. I trust that someone slept with you last
night. I cannot tell you what I would not give to be with
you at Baden instead of being stuck here. From sheer
boredom I composed to-day an aria for my opera.3 I got
up as early as half past four. Wonderful to relate, I have
got back my watch — but — as I have no key, I have un
fortunately not been able to wind it. What a nuisance!
Schlumbla! That is a word to ponder on. Well, I wound
our big clock instead. Adieu — my love! I am lunching
to-day with Puchberg. I kiss you a thousand times and say
with you in thought: ' ' Death and despair were his reward! ' ' 4

Ever your loving husband

W. A. MOZART

See that Karl behaves himself . Give him kisses from me.
Take an electuary if you are constipated — not otherwise.

1 Marianne Kirchgessner (1770-1809) was a blind performer on the glass
harmonica. She undertook numerous successful concert tours. Mozart com
posed for her in May 1791 K. 617, an adagio and rondo in C minor and
major for harmonica, flute, oboe, viola and violoncello.

2 Her concert, which was to have taken place on June I3th, was postponed
until August 1 9th. K. 617 was performed,

3 "Die Zauberflote", which Schikaneder had commissioned Mozart to
write for performance at his theatre Auf der Wieden.

4 A quotation from the "Zauberflote".

1418

1791 MOZART TO HIS WIFE L. 600

Take care of yourself in the morning and evening, if it is
chilly.

(600) Mozart to his Wife at Baden

[From Nottebohm, Mozartiana, pp. 27-29]

VIENNA, June iztk, 1791
DEAREST, MOST BELOVED LITTLE WIFE!

Now why did I not get a letter from you last night?
So that you might keep me even longer in anxiety about
your baths? This and something else spoilt the whole of
yesterday for me. I went to see N.N. in the morning, who
promised me, parole d'honneur, to call on me between
twelve and one in order to settle up everything. So I
could not lunch with Puchberg, but had to wait at home.
Well, I waited until half past two. He never came, so I sent
a note to his father by our servant. Meanwhile I went off
to the " Ungarische Krone", as it was too late to get lunch
anywhere else; even there I had to take my meal alone,
as all the guests had already left. You can imagine the
sort of lunch I had, worried as I was about you and
annoyed with N.N. If only I had had someone to console
me a little. It is not at all good for me to be alone, when
I have something on my mind. At half past three I was
at home again. The servant had not yet returned. I
waited and waited until half past six when she turned up
with a note. Waiting is always disagreeable, to be sure,
but even more so when the result is not what you expect.
The note only contained apologies for not having been
able to get some definite information, and assurances that
he would not forget me and would certainly keep his
word. To cheer myself up I then went to the Kasperle
Theatre to see the new opera "Der Fagottist",1 which is

1 "Kaspar der Fagottist", by Wenzel Miiller (1767-1835), who was con
ductor at Marinelli's Theatre in Vienna. The first performance of this opera
was on June 8th, 1791.

1419

Z. 600 MOZART TO HIS WIFE j79j

making such a sensation, but which is shoddy stuff. When
passing the coffee-house I looked in to see whether Loibl l
was there, but there was not a sign of him. In the evening
I again took a meal at the "Krone" simply in order not
to be alone, and there at least I found someone to talk to.
Then I went straight to bed. I was up again at five
o'clock, got dressed at once, went to see Montecucoli 2 —
"whom I found at home — then went off to N.N., who,
however, had already decamped. I am only sorry that
on account of that business ', which has not yet been
settled, I was not able to write to you this morning. How
I should have liked to write!

I am off now to the Rehbergs, that is, to the great
banquet which they are giving to their friends. If I had
not made a solemn promise to turn up and if it were not
extremely rude of me to stay away, I should not go at
alL But what good would that do me? Well, to-morrow I
am driving out to Baden and to you! If only my affairs
were settled! Who will now keep on prodding N.N. on
my behalf? For if he is not prodded, he becomes luke
warm. I have had to look him up every morning, other
wise he would not have done even what he has done.
Please do not go to the Casino to-day even if the
Schwingenschuhs should go out to Baden. Save it up
for when I am with you. If only I had news from you!
Well, it is half past ten now and the Rehbergs lunch at
noon. Why, it is striking eleven! So I can't wait any
longer! Adieu, dear little wife, love me as I do you. I
kiss you 2000 times in thought. Ever your

MOZART
Sunday.

1 Johann Martin Loibl, a notary, a lover of music and a member of the
same masonic lodge as Mozart,

2 Ludwig Franz. Marchese di Montecucoli, was a pupil of Mozart's.

1420

179* MOZART TO HIS WIFE L. 602

(60 1 ) Mozart to his Wife at Baden

[A utografih in the possession of Dr. Richard Strauss]
MA TRES CHERE EPOUSEJ VIENNA, I79I1

N.N. has this moment gone off to Baden. It is now
nine o'clock in the evening and I have been with him
since three. I think he will keep his word this time. He
promised to call on you, so I urge you to go for him
hard. But please do not go to the Casino.

Primo, the company 2 is — -you understand what I mean —

and
Secondo, you can't dance, as things are — and to look on . . . ?

Why, you can do that more easily when your little
husband is with you.

I must close, as I have still to go and see Montecucoli.
I just wanted to dash off this piece of news to you. You
will have a proper letter to-morrow. Adieu — do what I
have told you about the baths and love me as much as I
love and shall ever love you.

Ever your

MOZART

My greetings to your court flunkeys!

(602) Mozart to his Wife at Baden

[From Nottebohmt Mozartiana, p. 35]

VIENNA, June 2$thy 1791
DEAREST, MOST BELOVED LITTLE WIFE!

These are only a few lines written to you in haste,
as I am going to give Leutgeb a surprise by going out
to breakfast with him. It is now half past five. After

1 This letter is undated. 2 Probably the Schwingenschuhs.

1421

L. 602 MOZART TO HIS WIFE 1791

lunch I shall write more. And I am hoping that by then
I shall have had a letter from you. Adieu — I only wanted
to say good morning. Take care of yourself, particularly
when you are taking the baths. If you feel the slightest
weakness, stop them at once. Adieu! Two thousand
kisses.

MOZART

My compliments to Snai J — and tell him to pester N.N.
unmercifully.

\Autograph in the Preussische Staatsbibliothek, Berlin}

MA TRES CH£RE EPOUSE!

I have this moment received your letter, which has
given me extraordinary pleasure. I am now longing for
a second one to tell me how the baths are affecting you.
I too am sorry not to have been present yesterday at
your fine concert, not on account of the music, but be
cause I should have been so happy to be with you. I gave
N.N.2 a surprise to-day. First of all I went to the Reh-
bergs. Well, Frau Rehberg sent one of her daughters up
stairs to tell him that a dear old friend had come from Rome
and had searched all the houses in the town without being
able to find him. He sent down a message to say, would
I please wait for a few minutes. Meanwhile the poor
fellow put on his Sunday best, his finest clothes, and
turned up with his hair most elaborately dressed. You
can imagine how we made fun of him. I can never resist
making a fool of someone — if it is not N.N., then it must
be N.N. or Snai. And where did I sleep? At home, of
course. And I slept very well, save that the mice kept me

1 Abert, vol. ii. p. 753, n. 2, suggests that Snai was one of Mozart's nick
names for Siissmayr, who was then at Baden. 2 Probably Leutgeb.

1422

I7gi MOZART TO HIS WIFE L. 602

most excellent company. Why, I had a first-rate argument
with them. I was up before five o'clock. A propos, I advise
you not to go to mass to-morrow. Those peasant louts
are too cheeky for my taste. True, you have a rough
compagnon, but the peasants don't respect him, perdent
respectum, as they see at once that he is a silly ass —
Snai!

I shall give a verbal reply to Stissmayr. I would
rather not waste paper on him.

Tell Kriigel or Kliisel that you would like to have
better food. Perhaps, when you are passing, you could
speak to him yourself. That would be even better. He is
a good fellow in other ways and respects me.

To-morrow I shall join the procession to the Josefstadt,
holding a candle in my hand! — Snai!

Do not forget my warnings about the morning and
evening air and about bathing too long. My kind
regards to Count and Countess Wagensperg. Adieu. I
kiss you two thousand times in thought and am ever

your

MOZART
Vienna, June 25th, 1791.

P.S. — Perhaps after all it would be well to give Karl
a little rhubarb. Why did you not send me that long
letter? Here is a letter for him — I should like to have
an answer. Catch — Catch — —bis — bis — bs — bs — kisses
are flying about for you — bs — why, another one is
staggering after the rest!

I have this moment received your second letter. Be
ware of the baths! And do sleep more — and not so
irregularly, or I shall worry — I am a little anxious as
it is.

Adieu.

1423

L. 604 MOZART TO HIS WIFE 1791

(603) Mozart to Michael Puchberg

[Copy in the Preussische Staatsbibliothek, Berlin\

VIENNA, June 2$th, 1791
DEAREST, MOST BELOVED FRIEND!
MOST HONOURABLE BROTHER!

Business has prevented me from having the pleasure
of calling on you to-day. I have a request to make. My
wife writes to say that she can see that, although they are
not expecting it, the people with whom she is living would
be glad to receive some payment for her board and lodg
ing and she begs me to send her some money. I had
intended to settle everything when it was time for her to
leave and I now find myself in very great embarrassment.
I should not like to expose her to any unpleasantness;
yet at the moment I cannot leave myself short of money.
If you, most beloved friend, can assist me with a small
sum, which I can send to her at once, you will oblige me
exceedingly. I require the loan only for a few days, when
you will receive 2000 gulden in my name, from which you
can then refund yourself.

Ever your

MOZART '

(604) Mozart to his Wife at Baden

[From Nottebohm, Mozartiana, p. 34]

VIENNA, June ^oth or July 1st, 1791
DEAREST LITTLE WIFE!

I have just this moment arrived and have already
called on Puchberg and Montecucoli. The latter was not
at home — so I shall call again at half past nine. I am

1 Puchberg noted on this letter, "sent eodem die 25 gulden"*
1424

I79i MOZART TO HIS WIFE Z. 605

now going to look up N.N. You will have received a
letter for me from Montecucoli. As I think it probable
that instead of spending Sunday with you I shall have
to spend it in Vienna, please send me the two summer
suits, white and brown, with their trousers. I entreat you
to take the baths only every other day, and only for
an hour. But if you want me to feel quite easy in my
mind, do not take them at all, until I am with you again.
Adieu. I kiss you a thousand times and am ever your

MOZART

N.B. — My greetings to Snai and tell him that I should
like to know how he is — probably as tough as an ox. Tell
him to keep on writing until I get my belongings. Adieu.

I am sealing this letter in the presence of that good
fellow Primus.1

(605) Mozart to his Wife at Baden

\Autograph in the possession of D. N. Heineman, Brussels}

MA TRES CHfeRE EPOUSE! VIENNA, July 2nd, 1791

I trust that you are very well. I have just remem
bered that you have very seldom been upset during preg
nancy. Perhaps the baths are having a too laxative effect?
I should not wait for certain proofs, which would be too
unpleasant. My advice is that you should stop them now!
Then I should feel quite easy in my mind. To-day is the
day when you are not supposed to take one and yet I
wager that that little wife of mine has been to the baths?
Seriously— I had much rather you would prolong your
cure well into the autumn. I hope that you got my first
little note.

1 Mozart's nickname for Joseph Deiner, a steward at the "Silberne

Schlange", an eating-house and beer-shop in the Karntnergasse, where
Mozart usually lunched.

VOL. Ill H25 2B

L. 606 MOZART TO HIS WIFE j79j

Please tell that idiotic fellow Siissmayr to send me my
score of the first act, from the introduction to the finale,
so that I may orchestrate it.1 It would be a good thing if
he could put it together to-day and dispatch it by the first
coach to-morrow, for I should then have it at noon. I have
just had a visit from a couple of Englishmen who refused
to leave Vienna without making my acquaintance. But of
course the real truth is that they wanted to meet that great
fellow Siissmayr and only came to see me in order to find
out where he lived, as they had heard that I was fortunate
enough to enjoy his favour. I told them to go to the
"Ungarische Krone" and to wait there until he should
return from Baden!2 Snai! They want to engage him to
clean the lamps. I am longing most ardently for news of
you. It is half past twelve already and I have heard
nothing. I shall wait a little longer before sealing my
letter. . . . Nothing has come, so I must close it! Farewell,
dearest, most beloved little wife! Take care of your health,
for as long as you are well and are kind to me, I don't
care a fig if everything else goes wrong. Follow the
advice I gave you at the beginning of this letter and
farewell. Adieu — a thousand kisses for you and a thou
sand boxes on the ear for Lacci Bacci. Ever your

MOZART
Vienna, Saturday, July 2nd, 1791.

(606) Mozart to his Wife at Baden
\ I j

{Autograph in the Mozarteum, Salzburg]

July yd, 1791
DEAREST, MOST BELOVED LITTLE WIFE OF MY HEART!

I received your letter together with Montecucoli's
and am delighted to hear that you are well and in good

1 Mozart was composing "Die Zauberflote".
2 Mozart is punning on the word "baden", which means "to bathe".

1426

Z79J MOZART TO HIS WIFE L. 606

spirits. I thought as much. If you take the baths twice in
succession, you will be thoroughly spanked when I come
out to you again! Thanks for the finale you sent and my
clothes, but I cannot understand why you did not put in
a letter. I searched all the pockets in the coat and trousers.
Well, perhaps the post- woman is still carrying it about in
her pocket! I am only delighted that you are in good
health, my dear little wife. I rely on your following my
advice. If you do, I can feel a little calmer! As for my
health, I feel pretty well. I trust that my affairs will
improve as rapidly as possible. Until they are settled I
cannot be quite easy in my mind. But I hope to be so soon.
I trust that N.N.1 will not forget to copy out at once
what I left for him; and I am counting on receiving to-day
those portions of my score for which I asked. I see from
N.N.'s Latin letter that neither of you is drinking any
wine. I don't like that. Have a word with your supervisor,
who no doubt will only be too delighted to give you some
on my account. It is a wholesome wine and not expensive,
whereas the water is horrid. I lunched yesterday at Schika-
neder's with the Lieutenant-Colonel, who is also taking
the Antony baths. To-day I am lunching with Puchberg.
Adieu, little sweetheart. Dear Stanzi Marini, I must
close in haste, for I have just heard one o'clock strike;
and you know that Puchberg likes to lunch early. Adieu.
Ever your

MOZART
Sunday, July 3rd, 1791.

Lots of kisses for Karl and whippings for — that table-
fool.

1 Sussmayr.

1427

L. 608 MOZART TO HIS WIFE 1791

(607) Mozart to his Wife at Baden

[From Nottebohm, Mozartiana, p, 34]

DEAREST LITTLE WIFE! VIENNA, July $th> 1791

I must be brief. It is half past one and I have not
yet had any lunch. I wish I could send you more money.
Meanwhile, here are three gulden. You will get some
more to-morrow at noon. Cheer up and keep up your
spirits. All will be well yet. I kiss you a thousand times.
I am weak for want of food. Adieu.

Ever your

MOZART

I have waited until now in the hope of being able to
send you more money!

(608) Mozart to his Wife at Baden

[From Nottebohm, Mozartiana, p. 32]

VIENNA, July $th, 1791
DEAREST, MOST BELOVED LITTLE WIFE!

Here are twenty-five gulden. Settle the account for
your baths. When I come we shall pay for everything.
Tell N.N.1 to send me Nos. 4 and 5 of my manuscript —
and the other things I asked for and tell him to ... I must
hurry off to Wetzlar2 or I shall miss him. Adieu. I kiss you
two thousand times and am

ever your

MOZART
Vienna, July 5th, 1791.

P.S. — Didn't you laugh when you got my three

1 Siissmayr. 2 See p. 1161, n. i.

1428

I79i MOZART TO HIS WIFE L. 6og

gulden? But I thought it would be better than nothing.
Have a good time, little sweetheart, and be ever my
Stanzi M.

(609) Mozart to his Wife at Baden

{From. Nottebohm, Mozartiana, p. 31]

VIENNA, July $th, 1791
DEAREST, MOST BELOVED LITTLE WIFE!

Do not be melancholy, I beg you! I hope you
received the money. It is surely better for your foot that
you should stay on at Baden, for there you can go out
more easily. I hope to hold you in my arms on Saturday,
perhaps sooner. As soon as my business here is over, I
shall be with you, for I mean to take a long rest in your
arms; and indeed I shall need it, for this mental worry and
anxiety and all the running about connected with it is
really exhausting me. I received safely the last parcel and
thank you for it. I am more delighted than I can express
that you are not taking any more baths. In a word, all I
need now is your presence. Sometimes I think I cannot
wait for it any longer. True, when my business is over I
could have you back for good —
but — I should like to spend a
few more delightful days with
you at Baden. N.N. is with me
at the moment and tells me that
I ought to do this to you. He
has a penchant for you and is perfectly certain that you
must have noticed it.

And what is my second fool doing now? I find it hard
to choose between the two fools! When I turned in at the
"Krone" yesterday evening, I found the -English lord
lying there quite exhausted, as he was still waiting for

1429

L. 610 MOZART TO HIS WIFE i7gi

Snai.1 On my way to Wetzlar's to-day I saw a couple of
oxen yoked to a waggon and when they began to pull, they
moved their heads exactly like our idiotic N.N. Snai!

If you need anything, little sweetheart, let me know
quite frankly, for I shall indeed be delighted to try to
satisfy in every way my Stanzi Marini —

Ever your

MOZART
Vienna, July 5th, 1791.

Karl must be a good boy. Then perhaps I shall answer
his letter. Adieu.

(610) Mozart to his Wife at Baden

[From Nottebohm, Mozartiana> p. 81]

VIENNA, July 6tky 1791
DEAREST, MOST BELOVED LITTLE WIFE!

With indescribable pleasure I received the news that
you got the money safely. I can't remember, but I'm sure
I never told you to settle up everything. Now, how could
I , a sensible person, have written such nonsense? Well, if
I did, I must have been completely out of my mind!
Which is quite possible, as at the moment I have so many
important things to think about. I only meant that you
should pay for your baths and use the rest yourself. All
other debts, the amount of which I have more or less
reckoned up, I shall settle myself when I come. This very
moment Blanchard 2 is either going up in his balloon — or
else will fool the Viennese for the third time. That this
should be taking place to-day is most inconvenient for

1 Siissmayr. See p. 1426

2 Blanchard went up in his balloon Montgolfiere on July 6th, 1791, starting
from the Prater and coming down in the neighbourhood of Vienna.

H30

MOZART TO HIS WIFE z. 610

me, for it is preventing me from settling up my business.
N.N. promised to come and see me before going out there,
but he hasn't turned up. Perhaps he will when the fun is
over. I shall wait until two o'clock, then I shall stuff down
a little food and go off and hunt him up. Our life is not at
all a pleasant one. But patience! Things are bound to
improve. And then I shall rest in your arms!

I thank you for your advice not to rely entirely on
N.N. But in such cases you are obliged to deal with only
one person. If you turn to two or three, and the affair
becomes common property, others, with whom you cannot
deal, regard you as a fool or an unreliable fellow. But the
greatest pleasure of all you can give me is to be happy and
jolly. And if I know for certain that you have everything
you want, then all my trouble is a joy and a delight.
Indeed the most difficult and complicated situation, in
which I can possibly find myself, becomes a trifle, if only
I know that you are well and in good spirits. And now,
farewell. Make good use of your table-fool. Think of me
and talk about me very often, both of you. Love me for
ever as I do you and be always my Stanzi Marini, as I
shall always be your

Stu! Knaller Frailer
Schnip-Schnap-Schnur
Schnepeperl —
Snai! —

Give N.N. a box on the ear and tell him that you
simply must kill a fly which I have spied on his face!
Adieu — Look there! Catch them — bi — bi — bi — three
kisses, as sweet as sugar, are flying over to you!

Wednesday, Vienna, July 6th, 1791.

L. 611 MOZART TO HIS WIFE

(6 1 1) Mozart to his Wife at Baden

[From Nottebohm, Mozartiana, p. 21]

VIENNA, July jth, 1791
DEAREST, MOST BELOVED LITTLE WIFE!

You will forgive me, I know, for only sending you one
letter a day. The reason is that I must keep hold of N.N.
and not let him escape. I am at his house every day at
seven o'clock in the morning.

I hope that you got my letter of yesterday. I did not go
to see the balloon, for it is the sort of thing which one can
imagine. Besides, I thought that this time too nothing
would come of it. But goodness! How the Viennese are
rejoicing! They are as full of his praises now as they have
been up to the present of abuses.

There is something in your letter which I cannot read
and something I cannot understand. You say: "I am
certain that my — little husband will be in the Prater to-day
in a numerous com. etc." I cannot read the adjective
before "little husband". I presume that "com." stands for
"company" — but what you mean by "numerous com
pany" I cannot think.

Tell Sauermayer * from me that I have not had time to
be for ever running off to his Primus and that whenever
I did go he was never at home. Just give him the three
gulden, so that he may not cry.

My one wish now is that my affairs should be settled,
so that I can be with you again. You cannot imagine how
I have been aching for you all this long while, I can't
describe what I have been feeling — a kind of emptiness,
which hurts me dreadfully — a kind of longing, which is
never satisfied, which never ceases, and which persists,
nay rather increases daily. When I think how merry we

1 One of Mozart's nicknames for Siissmayr.

J79-T MOZART TO HIS WIFE L. 612

were together at Baden — like children — and what sad,
weary hours I am spending here! Even my work gives
me no pleasure, because I am accustomed to stop working
now and then and exchange a few words with you. Alas!
this pleasure is no longer possible. If I go to the piano and
sing something out of my opera,1 I have to stop at once,
for this stirs my emotions too deeply. Basta! The very hour
after I finish this business I shall be off and away from
here. I have no news to tell you. The illuminations at
Baden were, I daresay, a little premature — as the truth is
precisely to the contrary. I shall enquire at the court
chemist's, where the electuary may perhaps be obtained.
If so, I shall send it to you at once. Meanwhile, if it is
necessary, I should advise you to take tartar rather than
brandy. Adieu, dearest little wife,

Ever your
Vienna, July 7th, 1791.

(612) Mozart to his Wife at Baden

[Copy in the Preussische Staatsbibliotkek, Berlin\

VIENNA,/^ gth, 1791
DEAREST, MOST BELOVED LITTLE WIFE!

I have received your letter of the 7th together with
the receipt for the correct payment. But for your own sake
I should like to have seen the signature of a witness. For
if N.N. chooses to be dishonest, he may make things
rather unpleasant for you in regard to genuineness and
short weight. As the document simply says "box on the
ear", he can suddenly send you a legal summons for a
heavy or a violent or even a gentle box on the ear. What
will you do then? You will have to pay him at once, which
is not always convenient! I should advise you to come to
a friendly understanding with your opponent and give

1 "Die Zauberflote,"
1433

L. 612 MOZART TO HIS WIFE 7791

him two heavy and three violent boxes on the ear followed
by one gentle one, and even more, if he is not satisfied.
For I maintain that kindness cures everything, that
magnanimous and forbearing conduct has often recon
ciled the bitterest enemies and that if you are not in a
position to pay the whole debt, you still have acquain
tances who can. No doubt, if you ask Madame N., she
will make herself responsible for the payment in cash, if
not of the whole, at any rate of part of the debt.

Dearest little wife, I hope you received my letter of
yesterday. The time, the happy time of our reunion is
drawing ever nearer. Have patience and be as cheerful as
possible. Your letter of yesterday made me feel so
depressed that I almost made up my mind to let that
business slide and drive out to you. But what good would
it have done? I should only have had to drive in again at
once or, instead of being happy, I should have been most
dreadfully worried. The affair must be concluded in a few
days, forZ's promises were really serious and solemn. Then
I shall go straight to you. But if you prefer it, I shall send
you the money you need and you can then pay everything
and return to Vienna. There is nothing I should like
better. At the same time I do think that in this fine weather
Baden must be very pleasant for you and most beneficial
to your health, as there are such glorious walks there.
You yourself must feel this more than anyone. So if you
find that the air and exercise thoroughly agree with you,
stay a little longer. I shall come and fetch you or, if you
like, spend a few days with you. But, as I have already
said, if you would rather do so, return to Vienna to
morrow. Tell me quite frankly which you prefer. Now
farewell, dearest Stanzi Marini. I kiss you millions of
times and am ever your

MOZART
Vienna, July gth, 1791.

H34

MOZART TO CHOIR-MASTER STOLL Z. 613
P.S. — Give the following message to N.N. from me: —

What does he say? Does he like it? Not particularly, I
daresay. They are difficult expressions and rather hard to
understand. Adieu.

(613) Mozart to Choir-master Stoll at Baden

\Copy in the Preussische Staatsbibliothek, Berlin]

VIENNA, July iztk, 1791
Stoll, my dear,
You're a little bit queer
And an ass, I fear.
You've been swilling some beer!
The minor, I hear,
Is what tickles your ear!

I have a request to make, and that is, that you would
be so kind as to send me by the first mail coach to-morrow
my mass in B^1 which we performed last Sunday, and
Michael Haydn's Graduale in B^, "Pax Vobis", which
we also performed. I mean, of course, the parts, not
the scores. I have been asked to conduct a mass in a
church. Please do not think that this is an excuse to get
back my mass. If I were not quite satisfied that you
should have it, I should never have given it to you. On
the contrary, I am delighted to be able to do you a kind
ness. I rely entirely on you, for I have given a promise.

MOZART
Vienna, July I2th, 1791.

1 K. 275, composed in 1777.
1435

•Z. 614 MOZART TO HIS WIFE j79j

BELOVED HERR VON POLL!

Do not let us down or we shall be landed in the
gutter. My beautiful delicate handwriting testifies to the
truth of what Herr von Mozart has said, that is — the mass
and Michael Haydn's Graduale — or no news of his opera.

We shall return them at once.

By the way, be so kind as to kiss the hand of my dear
Theresa for me. If you don't, I swear eternal enmity.
Your handwriting must testify to it, as mine is doing now.
Then you will get back Michael Haydn's mass about
which I have already written to my father.

Remember, a man keeps his word!

I am . r - j

your sincere friend

FRANZ SUSSMAYR
Muckshitter
Shitting-house, July I2th.

(614) Mozart to his Wife at Baden

[Autograph in the possession of Karl Geigy-Hagenbach, Basel]

VIENNA, October jth-%th, 1791 *
Friday, half past ten
at night
DEAREST, MOST BELOVED LITTLE WIFE!

I have this moment returned from the opera, which
was as full as ever.2 As usual the duet "Mann und Weib"
and Papageno's glockenspiel in Act I had to be repeated

1 The non-existence of any letters from Mozart between the middle of
July and the beginning of October 1791 is partly due to Mozart's and Con-
stanze's visit to Prague for the performance of his "Clemenza di Tito",
the opera which he had been commissioned to compose for the coronation on
September 6th of the Emperor Leopold II as King of Bohemia. Siissmayr
accompanied the Mozarts.

2 The first performance of "Die Zauberflote" took place on September 3Oth,
1791, Mozart himself conducting from the clavier. Schikaneder took the part
of Papageno. Josefa Hofer was the Queen of Night.

1436

I79i MOZART TO HIS WIFE L. 614

and also the trio of the boys in Act II. But what always
gives me most pleasure is the silent approval. You can
see how this opera is becoming more and more popular.
Now for an account of my own doings. Immediately after
your departure I played two games of billiards with Herr
von Mozart, the fellow who wrote the opera which is run
ning at Schikaneder's theatre; then I sold my nag for
fourteen ducats; then I told Joseph T to get Primus to
fetch me some black coffee, with which I smoked a
splendid pipe of tobacco; and then I orchestrated almost
the whole of Stadler's rondo.2 Meanwhile I have had a
letter which Stadler 3 has sent me from Prague. All the
Duscheks are well. I really think that she cannot have
received a single one of your letters — and yet I can hardly
believe it. Well, they have all heard already about the
splendid reception of my German opera.4 And the
strangest thing of all is that on the very evening when
my new opera was performed for the first time with such
success, "Tito" was given in Prague for the last time with
tremendous applause. Bedini 5 sang better than ever. The
little duet in A major which the two maidens sing was
repeated;6 and had not the audience wished to spare
Madame Marchetti,7 a repetition of the rondo would have
been very welcome.8 Cries of "Bravo" were shouted at
Stodla 9 from the parterre and even from the orchestra —
"What a miracle for Bohemia!" he writes, "but indeed I
did my very best". Stodla writes too that Sussmayr . . .

1 Joseph Deiner. See p. 1425, n. i.

2 The rondo of K. 622, clarinet concerto in A major, one of Mozart's
last compositions.

3 Anton Stadler, who had taken part in the performance of "La Clemenza
di Tito", had stayed on in Prague.

4 "Die Zauberflote." 5 Bedini took the part of Annio.

6 Probably No. 7, "Ah, perdona al primo affetto".

7 Signora Marchetti-Fantozzi, the prima donna, took the part of Vitellia.

8 No. 23, "Non piu di fiori".

9 Anton Stadler, the clarinettist. Mozart is probably imitating his dialect.

1437

Z. 614 MOZART TO HIS WIFE I?9I

but I now see that he is an ass — Siissmayr I mean, not
Stodla, who is only a bit of an ass — but Siissmayr,
why, he is a full-blown ass. At half past five I left my
room and took my favourite walk by the Glacis to the
theatre. But what do I see? What do I smell? Why, here
is Don Primus l with the cutlets! Che gusto! 2 Now I am
eating to your health! It is just striking eleven. Perhaps
you are already asleep? St! St! St! I won't wake you.

Saturday, the 8tA. You should have seen me at supper
yesterday! I couldn't find the old tablecloth, so I fished
out one as white as a snowdrop, and put in front of me
the double candlestick with wax candles. According to
Stadler's letter the Italians are done for in Vienna.
Further, Madame Duschek must have got one letter from
you, for he says: 'The lady was very well pleased with
Mathies' postscript. She said: 'I like the ASS, or A-S-S,
as he is'/' Do urge Siissmayr to write something for
Stadler, for he has begged me very earnestly to see to
this. As I write, no doubt you will be having a good swim.
The friseur came punctually at six o'clock. At half
past five Primus had lit the fire and he then woke me up
at a quarter to six. Why must it rain just now? I did so
much hope that you would have lovely weather. Do keep
very warm, so that you may not catch a cold. I hope that
these baths will help you to keep well during the winter.
For only the desire to see you in good health made me
urge you to go to Baden. I already feel lonely without
you. I knew I should. If I had had nothing to do, I should
have gone off at once to spend the week with you; but I
have no facilities for working at Baden, and I am anxious,
as far as possible, to avoid all risk of money difficulties.
For the most pleasant thing of all is to have a mind at
peace. To achieve this, however, one must work hard;
and I like hard work. Give Siissmayr a few sound boxes

1 Joseph Deiner. * What a delicious taste!

MOZART TO HIS WIFE L. 6x5

on the ear from me, and I ask Sophie H.,1 whom I kiss
a thousand times, to give him a couple too. For Heaven's
sake do not let him starve in this respect. The last thing
in the world I could wish would be his reproach that you
had not treated or looked after him properly. Rather give
him too many blows than too few. It would be a good
thing if you were to leave a bump on his nose, or knock
out an eye, or inflict some other visible injury, so that the
fellow may never be able to deny that he has got some
thing from you.

Adieu, dear little wife! The coach is just going. I trust
that I shall have a letter from you to-day and in this
sweet hope I kiss you a thousand times and am ever
your loving husband

W. A. MOZART

(615) Mozart to his Wife at Baden

[A utograph in the Zavertal Collection, University of Glasgow^

VIENNA, ^October %th-gth}, 1791 2
Saturday night at half past ten o'clock

DEAREST, MOST BELOVED LITTLE WIFE,

I was exceedingly delighted and overjoyed to find
your letter on my return from the opera. Although
Saturday, as it is post-day, is always a bad night, the
opera was performed to a full house and with the usual
applause and repetition of numbers. It will be given
again to-morrow, but there will be no performance on
Monday. So Siissmayr must bring Stoll in on Tuesday

1 Sophie Haibel, Constanze's youngest sister.

2 The autograph of this letter, which bears no date, has been published
by Farmer and Smith, New Mozartiana, pp. 65-75, 123-127. The editors
maintain that this letter was written after the letter dated October I4th, but
do not provide sufficient evidence to upset the traditional order of Mozart's
last letters.

H39

L. 615 MOZART TO HIS WIFE 7791

when it will be given again for the first time. I say for
the first time, because it will probably be performed
several times in succession. I have just swallowed a
delicious slice of sturgeon which Don Primus (who is my
faithful valet) has brought me; and as I have a rather
voracious appetite to-day, I have sent him off again to
fetch some more if he can. So during this interval I shall
go on writing to you. This morning I worked so hard at
my composition that I went on until half past one. So I
dashed off in great haste to Hofer, simply in order not to
lunch alone, where I found Mamma l too. After lunch I
went home at once and composed again until it was time
to go to the opera. Leutgeb begged me to take him a
second time and I did so. I am taking Mamma to-morrow.
Hofer has already given her the libretto to read. In her
case what will probably happen will be that she will see
the opera, but not hear it. The N.Ns. had a box this
evening and applauded everything most heartily. But he,
the know-all, showed himself to be such a thorough
Bavarian that I could not remain or I should have had
to call him an ass. Unfortunately I was there just when
the second act began, that is, at the solemn scene. He
made fun of everything. At first I was patient enough to
draw his attention to a few passages. But he laughed at
everything. Well, I could stand it no longer. I called him
a Papageno and cleared out. But I don't think that the
idiot understood my remark. So I went into another box
where Flamm 2 and his wife happened to be. There every
thing was very pleasant and I stayed to the end. But
during Papageno's aria with the glockenspiel I went
behind the scenes, as I felt a sort of impulse to-day to
play it myself. Well, just for fun, at the point where

1 Frau Weber.

* A member of the Vienna Municipal Council. His daughter Antonie
afterwards became a famous singer.

1440

I79i MOZART TO HIS WIFE L. 615

Schikaneder has a pause, I played an arpeggio. He was
startled, looked behind the wings and saw me. When he
had his next pause, I played no arpeggio. This time he
stopped and refused to go on. I guessed what he was think
ing and again played a chord. He then struck the glocken
spiel and said "Shut up". Whereupon everyone laughed.
I am inclined to think that this joke taught many of the
audience for the first time that Papageno does not play
the instrument himself. By the way, you have no idea
how charming the music sounds when you hear it from a
box close to the orchestra — it sounds much better than
from the gallery. As soon as you return — you must try
this for yourself.

Sunday, at seven o'clock in the morning. I have slept
very well and hope that you too have done the same. I
have just enjoyed thoroughly my half of a capon which
friend Primus has brought back with him. I am going to
the service at the Piarists at ten o'clock, as Leutgeb has
told me that I can then have a word with the Director;1
and I shall stay to lunch.

Primus told me last night that a great many people in
Baden are ill. Is this true? Do take care and don't trust
the weather. Well, Primus has just returned with the
tiresome news that the coach left to-day before seven
o'clock and that there won't be another one until the
afternoon. So all my writing at night and in the early
morning has been to no purpose and you will not get my
letter until this evening, which is very annoying. I shall
certainly go to you next Sunday, when we shall all visit
the Casino and come home together on Monday. Lech-
leitner was again at the opera. Though he is no connois
seur, he is at any rate a genuine lover of music, which

1 Mozart was thinking of removing- his little son Karl from his school at
Perchtholdsdorf and placing him at a Christian Brothers* seminary.

VOL. Ill 1441 2 C

Z. 616 MOZART TO HIS WIFE j79j

N.N. is not. N.N. is really a nonentity and much prefers
a dinee. Farewell, my love — I kiss you millions of times
and am ever your

MOZART

P.S. — Kiss Sophie for me. I send Siissmayr a few
good nose-pulls and a proper hair-tug and Stoll a
thousand greetings. Adieu. The hour is striking — Fare
well — We shall meet again.1

N.B. — You probably sent the two pairs of yellow
winter trousers along with the boots to the laundry, for
Joseph and I have hunted for them in vain! Adieu.

(6 1 6) Mozart to his Wife at Baden

[Copy in the Preussische Staatsbibliothek, Berlin\

VIENNA, October 14^, 1791
DEAREST, MOST BELOVED LITTLE WIFE,

Hofer drove out with me yesterday, Thursday the
I3th, to see our Karl.2 We lunched there and then we all
drove back to Vienna. At six o'clock I called in the carriage
for Salieri and Madame Cavalieri— and drove them to
my box. Then I drove back quickly to fetch Mamma and
Karl, whom I had left at Hofer's. You can hardly imagine
how charming they were and how much they liked not only
my music, but the libretto and everything. They both said
that it was an operone? worthy to be performed for the
grandest festival and before the greatest monarch, and that
they would often go to see it, as they had never seen a more
beautiful or delightful show. Salieri listened and watched
most attentively and from the ouverture to the last chorus

1 A quotation from the "Zauberflote".

2 Karl Mozart was at school in Perchtholdsdorf, a suburb of Vienna.

3 A "grand opera".

1442

179* MOZART TO HIS WIFE Z. 616

there was not a single number that did not call forth from
him a bravo! or bello! It seemed as if they could not
thank me enough for my kindness. They had intended
in any case to go to the opera yesterday. But they would
have had to be in their places by four o'clock. As it was,
they saw and heard everything in comfort in my box.
When it was over I drove them home and then had
supper at Hofer's with Karl. Then I drove him home
and we both slept soundly. Karl was absolutely delighted
at being taken to the opera. He is looking splendid. As
far as health is concerned, he could not be in a better
place, but everything else there is wretched, alas! All
they can do is to turn out a good peasant into the world.
But enough of this. As his serious studies (God help
them!) do not begin until Monday, I have arranged to
keep him until after lunch on Sunday. I told them that
you would like to see him. So to-morrow, Saturday, I
shall drive out with Karl to see you. You can then keep
him, or I shall take him back to Heeger's l after lunch.
Think it over. A month can hardly do him much harm.
In the meantime the arrangement with the Piarists, which
is now under discussion, may come to something. On the
whole, Karl is no worse; but at the same time he is not
one whit better than he was. He still has his old bad
manners; he never stops chattering just as he used to do
in the past; and he is, if anything, less inclined to learn
than before, as out at Perchtholdsdorf all he does is to
run about in the garden for five hours in the morning
and five hours in the afternoon, as he has himself con
fessed. In short, the children do nothing but eat, drink,
sleep and run wild. Leutgeb and Hofer are with me at
the moment. The former is staying to supper with me. I
have sent out my faithful comrade Primus to fetch some

1 Wenzel Bernhard Heeger (1740-1807), headmaster of the school at
Perchtholdsdorf.

1443

Z. 6x6 MOZART TO HIS WIFE

food from the Biirgerspital. I am quite satisfied with the
fellow. He has only let me down once, when I was obliged
to sleep at Hofer's, which annoyed me intensely, as they
sleep far too long there. I am happiest at home, for I am
accustomed to my own hours. This one occasion put me
in a very bad humour. Yesterday the whole day was
taken up with that trip to Perchtholdsdorf, so I could not
write to you. But that you have not written to me for
two days, is really unforgivable. I hope that I shall
certainly have a letter from you to-day, and that to
morrow I shall talk to you and embrace you with all my
heart.

Farewell. Ever your

MOZART
October I4th, 1791.

I kiss Sophie a thousand times. Do what you like with
N.N. Adieu.

1444

A letter, written many years later, which describes the
last days of Mozart :

Sophie Haibel to Georg Mikolaus von Nissen, Salzburg I

{Extract] [Autograph in the possession of the Gesellschaft

der Musikfreunde, Viennd\

DlAKOVAR,2 April 1th, 1825

Now I must tell you about Mozart's last days. Well,
Mozart became fonder and fonder of our dear departed
mother3 and she of him. Indeed he often came running
along in great haste to the Wieden (where she and I were
lodging at the Goldner Pflug), carrying under his arm a
little bag containing coffee and sugar, which he would
hand to our good mother, saying, "Here, mother dear,
now you can have a little 'Jause' ".4 She used to be as de
lighted as a child. He did this very often. In short, Mozart
in the end never came to see us without bringing something.
Now when Mozart fell ill, we both made him a night-
jacket which he could put on frontways, since on account
of his swollen condition he was unable to turn in bed.
Then, as we didn't know how seriously ill he was, we also
made him a quilted dressing-gown (though indeed his
dear wife, my sister, had given us the materials for both
garments), so that when he got up he should have
everything he needed. We often visited him and he

1 Mozart, who had been in poor health for some time, became very ill early
in November and bedridden about a fortnight before his death on December
5th, 1791. A vivid and moving account of his last days is given in the above
letter written many years later by Sophie Haibel to her elder sister Constanze's
second husband, Georg Nikolaus von Nissen, formerly Counsellor at the
Danish Legation in Vienna, who at the time was collecting materials for
his biography of Mozart. See Nissen, p. 573 if. and p. 687 ff. The letter was
first published in full in MM, November 1918, pp. 21-23.

2 Sophie Weber's husband, Jakob Haibel (1761-1826), musician and
composer, was choir-master at Diakovar.

3 Frau Cacilie Weber, who died on August 22nd, 1793.

4 i.e. afternoon coffee.

1447

SOPHIE HAIBEL TO GEORG NIKOLAUS VON NISSEN

seemed to be really looking forward to wearing his dress
ing-gown. I used to go into town every day to see him.
Well, one Saturday when I was with him, Mozart said to
me: "Dear Sophie, do tell Mamma that I am fairly well
and that I shall be able to go and congratulate her on the
octave of her name-day". Who could have been more de
lighted than I to bring such cheerful news to my mother,
who was ever anxious to hear how he was? I hurried home
therefore to comfort her, the more so as he himself really
seemed to be bright and happy. The following day was a
Sunday. I was young then and rather vain, I confess, and
liked to dress up. But I never cared to go out walking
from our suburb into town in my fine clothes, and I had no
money for a drive. So I said to our good mother: "Dear
Mamma, I'm not going to see Mozart to-day. He was so
well yesterday that surely he will be much better this
morning, and one day more or less won't make much
difference/' Well, my mother said: "Listen to this. Make
me a bowl of coffee and then I'll tell you what you ought
to do." She was rather inclined to keep me at home; and
indeed my sister knows how much I had to be with her.
I went into the kitchen. The fire was out. I had to light
the lamp and make a fire. All the time I was thinking of
Mozart. I had made the coffee and the lamp was still
burning. Then I noticed how wasteful I had been with
my lamp, I mean, that I had burned so much oil. It was
still burning brightly. I stared into the flame and thought
to myself, "How I should love to know how Mozart is".
While I was thinking and gazing at the flame, it went out,
as completely as if the lamp had never been burning. Not a
spark remained on the main wick and yet there wasn't the
slightest draught— that I can swear to. A horrible feeling
came over me. I ran to our mother and told her all. She
said: "Well,, take off your fine clothes and go into town
and bring me back news of him at once. But be sure not

1448

SOPHIE HAIBEL TO GEORG NIKOLAUS VON NISSEN

to delay." I hurried along as fast as I could. Alas, how
frightened I was when my sister, who was almost de
spairing and yet trying to keep calm, came out to me,
saying: "Thank God that you have come, dear Sophie.
Last night he was so ill that I thought he would not
be alive this morning. Do stay with me to-day, for if he
has another bad turn, he will pass away to-night. Go in to
him for a little while and see how he is." I tried to control
myself and went to his bedside. He immediately called
me to him and said: "Ah, dear Sophie, how glad I am
that you have come. You must stay here to-night and see
me die." I tried hard to be brave and to persuade him to
the contrary. But to all my attempts he only replied:
"Why, I am already tasting death. And, if you do not
stay, who will support my dearest Constanze when I am
gone?" "Yes, yes, dear Mozart," I assured him, "but I
must first go back to our mother and tell her that you
would like me to stay with you to-day. Otherwise she will
think that some misfortune has befallen you." "Yes, do
so," said Mozart, "but be sure and come back soon."
Good God, how distressed I felt! My poor sister followed
me to the door and begged me for Heaven's sake to go to
the priests at St. Peter's and implore one of them to come
to Mozart— a chance call, as it were. I did so, but for a
long time they refused to come and I had a great deal of
trouble to persuade one of those heartless people to go to
him. Then I ran off to my mother who was anxiously
awaiting me. It was already dark. Poor soul, how
shocked she was! I persuaded her to go and spend the
night with her eldest daughter, the late Josefa Hofer.1 I
then ran back as fast as I could to my distracted sister.
Siissmayr was at Mozart's bedside. The well-known

1 Josefa Weber-Hofer, who in 1797 had married as her second husband
the actor and singer Friedrich Sebastian Mayer (1773-1835), died on Decem
ber 29th, 1819, ,

1449

SOPHIE HAIBEL TO GEORG NIKOLAUS VON NISSEN

Requiem1 lay on the quilt and Mozart was explaining to
him how, in his opinion, he ought to finish it, when he was
gone. Further, he urged his wife to keep his death a secret
until she should have informed Albrechtsberger,2 who was
in charge of all the services. A long search was made for
Dr. Closset, who was found at the theatre, but who had to
wait for the end of the play. He came and ordered cold
poultices to be placed on Mozart's burning head, which,
however, affected him to such an extent that he became
unconscious and remained so until he died.3 His last move
ment was an attempt to express with his mouth the drum
passages in the Requiem. That I can still hear. Miiller 4
from the Art Gallery came and took a cast of his pale,
dead face. Words fail me, dearest brother, to describe how
his devoted wife in her utter misery threw herself on her
knees and implored the Almighty for His aid. She simply
could not tear herself away from Mozart, however much I
begged her to do so. If it was possible to increase her
sorrow, this was done on the day after that distressing
night, when crowds of people walked past his corpse and
wept and mourned for him. All my life I have never seen
Mozart in a temper, still less, angry.

1 K. 626. Six months previously Mozart had been commissioned by a
certain Count Walsegg to compose this work, which, however, had been de
layed by his journey to Prague early in September for the production of
"La Clemenza di Tito", and by his work on "Die Zauberflote", first per
formed on September 3oth. For a discussion of Siissmayr's share in the
composition of the "Requiem" see Kochel, p. 808 ff. Cf. also p. 1494 ff.

2 J. G. Albrechtsberger (1736-1809) was chief organist at the Stefans-
kirche, where Hofmann was Kapellmeister.

3 Mozart died at 55 minutes past midnight on December 5th.

4 Count Josef Deym (1750-1804), alias Miiller, was the owner of a col
lection of wax- works and casts from the antique, which from 1797 onwards
was housed in a building hi the Stock im Eisen. Mozart's death-mask has
disappeared. According to Nohl (Mozart nach den Schilderungen seiner
Zeitgenossen, p. 393) Constanze, one day while cleaning, smashed the copy
in her possession. She is said to have remarked that " she was glad that the
ugly old thing was broken" (A. Schurig, Leopold Mozarts Reiseaufzeich-
nungen, p. 92).

1450

EXTRACTS

FROM THE LETTERS OF

CONSTANZE MOZART

JOHANN ANTON ANDRfi
TRANSLATED AND EDITED BY C. B. OLDMAN

CONSTANZE MOZART (1802)

From a portrait by Hans Hansen

.(Mozart Museum, Salzburg)

INTRODUCTION

OF the six to seven hundred works by Mozart which are
recorded in KocheFs catalogue, not more than seventy or
so were published during the composer's lifetime, and,
though many more were in circulation in manuscript, it is
safe to say that at the time of his death, when by the irony
of fate the success of his last opera had won him for the
first time a universal popularity, the greater pan of his
work was still inaccessible to the general musical public.
This being so, it is at first a little surprising that his widow,
hard pressed as she was to satisfy her husband's creditors,
should not at once have realised that the mass of manu
scripts which he had left behind him, though not even
mentioned in the official inventory of his effects, was by
far the most valuable of her assets.

It must be remembered, however, that at that date
autographs were not the marketable commodities that
they have since become. At the present day the musical
remains of a composer of eminence would possess a double
value: they would interest both the music publishers and
the collectors of manuscripts; the former would be eager
to obtain the copyright of any unpublished compositions,
and the latter would be willing to purchase any autograph,
however insignificant, simply as a relic of the composer.
But Constanze Mozart could not hope for much profit
from either source. There were as yet no rich collectors to
pay handsome sums for a few bars in the composer's hand,
and the music publishers could not be expected to display
much interest in the autographs of compositions, the most
important of which were already in circulation, at least in
manuscript copies. Moreover, Mozart's papers were in

HS3

INTRODUCTION

hopeless confusion, and Constanze had not sufficient
musical knowledge to be able to sort them out and to
identify them. In 1792, it is true, through the agency of
the Prussian ambassador in Vienna, Baron von Jacobi-
Klost, she did succeed in inducing the King of Prussia to
purchase eight manuscripts from her at the price of one
hundred ducats each, but this was no doubt an act of
royal grace and as such exceptional. At any rate there is
no record of any similar transaction.

In the spring of 1798, however, the Leipzig publishers
Breitkopf and Hartel, detecting unmistakable signs of a
coming boom in Mozart, announced the forthcoming pub
lication of a complete edition of his works, and on the i5th
of May wrote to the composer's widow asking for her
assistance in the undertaking. On the receipt of this letter
Constanze at last took steps to have the manuscripts care
fully investigated. Her chief business adviser at this time
was Georg Nikolaus von Nissen, an official in the Danish
Embassy, who had taken lodgings in her house in 1797
and whom she was to marry some twelve years later.
Unfortunately Nissen, though an enthusiastic admirer
of Mozart, was not a skilled musician, and Constanze had
to turn elsewhere for the expert advice that was needed.
Her choice ultimately fell upon the Abbe Maximilian
Stadler, an old friend of the Mozarts who had just taken
up his residence in Vienna, and who, being a sound
scholar as well as a capable composer, was fully qualified
for the task. In his little pamphlet on Mozart's Requiem
he has himself described how he visited Constant's house
from time to time and, with Nissen's aid, soon succeeded
in classifying and cataloguing the whole collection. He
did his work thoroughly, and paid special attention to the
many fragmentary compositions that he found. One or
two of them, indeed, he himself completed in the hope of
making them available for performance and so enhancing

HS4

INTRODUCTION

their commercial value. The lists which the Abbe drew up
as a result of his labours were subsequently printed in the
appendix to Nissen's biography of Mozart (1828), and
have been frequently reproduced since. When supple
mented by the two other lists there given — Mozart's own
list of his compositions for the years 1784 to 1791 and
Leopold Mozart's list of his son's juvenile works — they
gave the musical public for the first time a comprehensive
survey of the whole field of Mozart's work.

But their immediate importance was more practical.
They enabled Constanze to see exactly what manuscripts
she possessed and made it easier for her to draw the fullest
advantage from them. She was thus soon in a position to
furnish Breitkopf and Hartel with whatever they wanted
for their edition. Unfortunately it turned out that they
did not want very much. For some years they had been
accumulating manuscript copies of Mozart's works, and
in most cases they were quite content to rely upon these.
For a moment they seem to have been tempted by Con-
stanze's proposal that they should purchase her collection
en bloc, but in the end all that they took from her was a
handful of works, some forty in all, of which they possessed
no copies of any sort. Even so, if there is any truth in
her statements, she was not very well paid for her assist
ance.

*It was while the negotiations with Breitkopf were still
dragging on that there suddenly appeared upon the scene
a man who, unlike his rivals, combined business acumen
with something of the collector's enthusiasm. Johann
Anton Andre (1775-1842), son of Johann Andre (1741-
1799), the founder of the music publishing house at Offen
bach, was at this time a young man of twenty -four, but
was already making his mark as a composer. At the
moment, however, he was more concerned with develop
ing the business which he had just inherited than with

1455

INTRODUCTION

composition, and when Haydn called his attention to the
straitened circumstances in which Mozart's widow was
living, and spoke of her willingness to dispose of her hus
band's manuscripts, he realised that he could satisfy the
call of charity in a manner not altogether unprofitable to
himself, and lost no time in coming to terms with Con-
stanze, and in purchasing the whole collection from her.
The transaction was not free from difficulties, the chief of
which was that it was bound to disturb the harmony, if
harmony had ever existed, of Constanze's relations with
Breitkopf and Hartel. It certainly placed the latter in a
very awkward position, and in spite of all their professions
of indifference, they must have regarded the sale of the
manuscripts with considerable alarm. At the very least it
made it impossible for their edition of the "(Euvres com-
plettes" of Mozart to fulfil the promise of its title.

Andre finally arranged to give 3150 gulden (about
,£320) for the collection, to be paid in a certain number
of instalments, had the music packed up in his presence,
and left it to be sent on to him at Offenbach. It was clear,
however, from Mozart's own thematic catalogue, which
was included in his purchase, and from other sources,
that the collection was not complete, and Constanze evi
dently promised to do her utmost to procure the missing
manuscripts for him. It will be seen from the letters that
follow that his indefatigable efforts to secure them were a
considerable trial to her. The ultimate extent of his collec
tion can best be gauged from the catalogue which he pub
lished in 1841, when he was endeavouring to dispose of it.
It runs to no less than 280 items. At this point a brief note
on the subsequent history of the manuscripts may not be
out of place. Andre guarded them with the greatest care
and had a special cabinet constructed to contain them. He
studied them assiduously and gained a knowledge of the
minutiae of Mozart's handwriting and methods of com-

1456

INTRODUCTION

position that enabled him to do valuable pioneer work in
cataloguing, classifying and dating the various pieces in
this vast mass of music. Kochel frankly acknowledged his
indebtedness to him and hardly ever ventured to differ
from him on points of chronology. Strange to say, how
ever, Andre did not in the end publish so many of the
manuscripts as might have been expected, and he was
from time to time subjected to sharp criticism for keeping
these valuable treasures "hermetically sealed" at Offen
bach. It is clear that the more he studied them the more
engrossed in them he became, and that his interest in them
grew to be more and more that of the scholar, with the
result that their commercial potentialities, and even his
duty to the public, came to seem of only secondary impor
tance. But no one can accuse him of failing to appreciate
the value of his collection. As he grew older he became
anxious about its final disposal. He wished it to be kept
intact,1 but could not bequeath it to a public institution
without injustice to his children. He therefore made over
tures to the courts of Vienna, Berlin and London as well
as to various national libraries, in the hope of finding a
purchaser for the whole collection. It was only when all
these attempts came to nothing that he decided to try to
sell the manuscripts piecemeal. But here again he met
with little success, and when he died in 1842 the bulk of
the collection was still intact. In 1854 his heirs, consisting
of his six sons and his son-in-law J. B. Streicher, divided
the remaining MSS. among them. In the course of time
many of them passed into other hands, but a large
number were still in the possession of the Andre family
when in 1873 the Prussian State Library decided to

1 It is to be noted, however, that as early as 1811, apparently through
Constanze's agency, Andre had sold a small but valuable group of manu
scripts to J. A. Stumpff, the London harp manufacturer. This included the
six quartets dedicated to Haydn, the three dedicated to the King of Prussia
and the one in D (K. 499), all of which are now in the British Museum.

VOL. Ill I4S7 2 D

INTRODUCTION

purchase all the MSS. that could be collected from them,
and so finally preserved them from further dispersal.

To return to Andre's original transaction. It naturally
gave rise to a considerable amount of correspondence, but
of this only some thirty of the letters written by Constanze
or Nissen to Andre have been preserved. They appear to
have been bequeathed by Andre to his amanuensis Hein-
rich Henkel, and subsequently to have found their way to
this country. They are now in the possession of the present
writer. The passages which are here translated have been
selected either for their bibliographical importance — for
many works are discussed which are not even mentioned
in the rest of the Mozart correspondence — or for the light
that they throw upon the character of Mozart's Constanze.
But here a word of warning is necessary. The letters though
written in Constanze's name and occasionally bearing her
signature, are all in Nissen's handwriting, and much of
the petulance, to say nothing of the verbosity, that they
display must be laid to his account. Even so most of the
characteristics which may be ascribed to her on the
strength of other evidence may readily be detected in
these letters. No one can read them without picturing a
capable, wide-awake woman; a little mercenary, perhaps,
and somehow always giving the impression — not alto
gether justified — that she was not quite straightforward
in her dealings. This is not the Constanze that Mozart
knew. Whilst he lived she was frivolous, inconsiderate
and extravagant; but when suddenly thrown upon her own
resources, she developed with an astonishing ease all those
bourgeois virtues which, if she had displayed them earlier,
might have jarred upon him, but would certainly have
helped to save him from disaster. At her best she is not
a very attractive figure, but it is only fair that these
two pictures should be set side by side before any final
judgment is pronounced upon her.

1458

CONSTANZE MOZART TO J. A. ANDRfi

Andre appears to have been a shrewd but lovable per
son, kindly at heart, but not afraid of giving momentary
offence by outspoken criticism. It is a matter for regret
that his contributions to this correspondence have not
been preserved. They would probably have illuminated
many points that must now remain obscure, and would in
any case have contributed to our knowledge of a man
whom lovers of Mozart must always regard with respect.

To our knowledge of Mozart himself these letters con
tribute very little, though here and there a skilful bio
grapher will find hints that are worth following up. Their
chief importance lies in the odd scraps of information they
contain on various compositions about which very little
is otherwise known. Especially valuable are the passages
dealing with certain "doubtful" works, such as the so-
called "romantic" sonatas for clavier and violin, the Eb
violin concerto, the Wiegenlied and the divertimenti for
basset-horns and bassoon. These and other points of in
terest, such as Constanze's very important though some
what muddled references to the manuscripts of the
Requiem, are fully discussed in the notes. It is only
necessary to add that apart from a few extracts which
have been quoted by other writers on Mozart, from Andre
himself to Dr. Alfred Einstein, the reviser of the latest
edition of Kochel, the letters are now printed for the first
time in any form.

[Extract}

VIENNA, February 2ist-2jt&> 1800
MY DEAR HERR ANDRE,

I sit down to answer your letters in rotation. First,
your letter of the 2ist of January. I have already

H59

CONSTANZE MOZART TO J. A. ANDRfi

requested Breitkopf and Hartel1 to send the few original
MSS. furnished by me, which are still in their possession,
direct to you. Some of those they had you have already
received through me. The particular one you were most
desirous of possessing is now not so valuable, for the
piano2 concerto in question3 will shortly be engraved, or
possibly is engraved already.

I see that you have already advertised our transaction
in the Hamburg and Frankfurt journals.4 The advertise
ment is excellent, and, I should think, ought to be suffi
cient, for where is the "Hamburger Zeitung" not to be
found? If you wish to insert it in the "Literaturzeitung" or
in any other journal, you are, of course, quite at liberty to
do so: but for me, especially in view of my lack of connec
tions, it means unnecessary expense. But your advertise
ment is by itself proof against all contradiction and so
authentic enough. I hope, however, that you will publish
more works than the advertisement promises. While on
this point a suggestion occurs to me. If you do not wish
to bring out the older works, such as "Bastien und
Bastienne" and all the others, in their entirety, why not

1 In Letter V Constanze gives a list of the MSS. which were still in Breit
kopf s possession. These MSS. were furnished by her in connection with the
edition of Mozart's works which Breitkopf began to issue in 1798. For a full
list of them see her letter to Breitkopf of November 3Oth, 1799 (Nottebohm,
Mozartiana, p. 132).

2 In view of the date at which these letters were written the editor
has felt himself justified in translating the word "Klavier" as "piano5* or
"pianoforte" throughout.

3 This was, no doubt, the "hitherto quite unknown piano concerto in C
major", the forthcoming publication of which was announced by Breitkopf in
the AMZ for March 1800 (Int. Blatt IX), viz. K. 467.

4 See e.g. the Frankfurter Staats-Ristretto of February loth, 1800.
"Madame Mozart of Vienna, the composer's widow, has sold to me the whole
of the manuscripts of her husband that remained in her possession. I am thus
in a position to produce the most accurate edition of several works of our
beloved Mozart, both known and unknown. ... As my edition progresses,
I shall also bring out in score at least four of the best operas of the com
poser, and perhaps several of his instrumental compositions. . . . J Andre,
Offenbach, January 3ist, 1800."

1460

CONSTANZE MOZART TO J. A. ANDRfi

publish the many simple and pleasing airs they contain
in a pianoforte arrangement as an additional collection
of songs?

Thank you for your promise to make your bills payable
at shorter sight; but I cannot agree with you that it is not
a matter of so much as a fortnight. It is very important
that one should get one's money just when one counts on
getting it. I am, however, honestly glad that you gain so
considerably over the exchange.

Next for your letter of the 27th of January. I thank you
most sincerely for the trouble you have taken, and all to
no purpose, and suggest that you try again some other
time. Could you yourself by any chance engage my son1
on reasonable terms? He might be useful to you for he is a
clever lad, especially at music.

Now for your letter of the I3th of February. With this
I received the bill for your third payment, but I shall let
this letter wait till I can inform you that the money has
been paid. How can you imagine that I should ever think
that I had any ground of complaint against you on the
score of your payments or any other matter? Far from it!
It is true that my business adviser,2 who sends you his
best regards, has remarked that you have not thought it
necessary to use the word "punctually". He points out
that if Dellazia is not to pay till the 27th of February, I
actually get that instalment four weeks, all but one day,
later than I should do, according to the agreement. But
you know how precise he is. This time I silenced him with
the assurance that you would certainly be punctual with
your last instalment. I am not surprised that you do not

1 Karl Thomas Mozart (1784-1858) had already embarked on a com
mercial career in Italy, but was dissatisfied and longed to turn to his
father's profession. Constanze no doubt thought that a post with a publisher
of music was a suitable compromise between the claims of art and business.
The project came to nothing.

2 Nissen.

1461

CONSTANZE MOZART TO J A. ANDRfi

want to buy the "Requiem"1 at so high a price: what does
surprise me is that you make no offer for it at all. It is all
one to me. I get nothing out of it. But merely from friend
ship for you and interest in your collection I should have
liked you to have it. And while we are on this point I will
give you a word of advice. "Davidde penitente" is, so far
as I know, only in circulation in manuscript copies, one
of which I gave you, if I am not very much mistaken.
Search then among the arias and the mass from which
this oratorio was put together,2 collect all the originals of
the pieces belonging to it, and then publish the work as a
pendant to the "Requiem". It will meet with just as much
success, for it is a fine thing. My receipt of the "Musica-
lische Zeitung" is terribly irregular, but I have no curiosity
about the article to which you have called my attention.3
For the present I cannot think of anything to say on the
matter. You know what works you have in the original
manuscript, and, in consequence, what cannot and what
may be in the possession of others.

I am delighted beyond measure at the thought of the
complete thematic catalogue which you kindly promise
me.4

1 The reference is presumably to those portions of Mozart's autograph
score, all incomplete, which still remained in Vienna, probably in Siissmayr's
possession. These the latter had copied out, with his additions, in his own
hand, in the copy of the score sent to Count Walsegg, who commissioned the
work from Mozart.

2 "Davidde penitente" (K. 469) was an adaptation of the unfinished mass
in C minor (K. 427), with the addition of two arias (nos. 6 and 7) specially
composed.

3 A review of Andre's edition (as Op. 67) of the PF. concerto K. 450
(AMZ October 2nd, 1799), containing a statement that Breitkopf and Hartel
possessed the original autographs of several unpublished concertos by Mozart.

4 This never materialised. In 1805 Andre published Mozart's own cata
logue, which covers the period from 1784 to the year of his death, and in
1841 issued a thematic catalogue of all the Mozart MSS. which were then in
his possession. He also drew up, but never published, a thematic list of all
Mozart's compositions written before 1784, which is now preserved in the
British Museum (Add. MS. 32412; see Music and Letters, April 1924).

1462

CONSTANZE MOZART TO J. A. ANDRfi

Enclosed you will find a few notes about things by
Mozart that you haven't got. I will let you have several
more. But please be so good as to inform me with whom
you are most closely in touch here, so that I can send him
anything that comes into my hands, and so save the cost
of carriage.

I am at present arranging the fragments, and it is very
important that you should let me have a statement of the
items of this kind that you purchased from me with the
other works. Please have the kindness then to inform me,
as soon as you can — you will oblige me beyond measure by
doing so — of the key and other characteristic features of: —

the fragment of an oboe concerto,1

the unfinished piece for wind-instruments,2

the scena in Bb,3

the aria in D,4

the aria in Bi>,5

and the sonata for four hands in G major.6
In the case of the violin sonata, which was completed by
a musical friend of mine,7 I have this information already.
In addition I should very much like to know how many
acts and scenes are finished in the unnamed German
opera,8 which has accompanied declamation in the place
of recitative; further, how many scenes are completed in
the two unfinished Italian operas "L/ oca del Cairo" and
"Lo sposo deluso" — these, I think, are their names.

1 K. 293.

2 Possibly K. 411, if this is regarded as forming one movement only of
a larger work. See Kochel, p. 557.

3 Possibly K. 434. 4 Possibly K. 435.
5 Possibly K. 580. 6 Possibly K. 357.

7 K. 403. The musical friend was the Abbe Maximilian Stadler (1748-
^33) » a prolific composer of church music, now chiefly remembered for
his publications in defence of the authenticity of the "Requiem". For a list
of the works completed by him see p. 1473, n. 2.

8 K. 344. Afterwards christened "Zaide" by Andre when he brought out
an edition of the work in 1838.

1463

CONSTANZE MOZART TO J. A. ANDRfi

I send you a specimen to show you how I have recorded
and described the other fragments.

VIENNA, February 27th, 1800

I can now have the honour of informing you that Herr
Dellazia has paid. Pending the date of your final payment,
when I can make out a formal receipt for the whole sum,
this present letter will meet your requirements, wherein I
declare that of the 3,150 gulden1 mentioned in our agree
ment, you have so far paid off 2,100 gulden in the three
stipulated instalments.

You remember you played and sang at my piano a
chorus "Dir, Seele des Weltalls", and an aria "Dir danken
wir die Freude".2 Both of these pieces, which are frag
ments of an unfinished cantata, were arranged for the
piano by a musical friend of mine. I gave you the original
manuscripts, which lacked, however, the last bars of the
aria. These I have now discovered and will send to you
together with the opening bars of the aria which was to
have followed them, and, further, an imperfect score of
the string quintet in G minor,3 and a few other frag
ments, which you may be able to use here and there for
filling in.

You are aware that many of the airs from the "Zauber-
flote", "Don Giovanni", "Cosi fan tutte", and "Figaro"
have been arranged for string quintet. Well, the Viennese
public is now anxious for a similar adaptation of "Ido-

meneo".

1 About ^320. Jahn gives the price paid as 1000 ducats (about ^460),
which was in fact what Constanze had asked when she was endeavouring to
sell the collection to Breitkopf. Heinrich Henkel, who should have known, as
he acted for many years as Andre's amanuensis, puts the figure as high as
1000 carolins (about ^looo, see MMB, Heft 5. February 1898).

2 K. 429. The musical friend was no doubt again the Abbe Stadler.

3 K. 516. Mozart appears to have written out the whole work twice over.
See Kochel, p. 655, for a full description both of the complete and of the
fragmentary scores.

1464

CONSTANZE MOZART TO J. A. ANDRfi

I have the honour to be, most respectfully,
your devoted servant

CONSTANZE MOZART I

Note i. The first part of "La finta giardiniera" you
might perhaps be able to get, either in the original or in
copy, from Herr Drexler, who is a grocer, or something
of the sort, in Wels in Upper Austria, and once ran a
private theatre.2

As for the "singspiel" with accompanied dialogue, that
has no title,3 you should advertise in the journals, on the
chance that you may be able to complete it and to christen
the poor bairn. I don't know whether it ever was finished.

In "Don Giovanni" some wind parts are missing.4

A fantasia for pianoforte in F minor5 should be in the
hands of a certain Herr Leitl in Prague.

For the scena no. 346in the thematic catalogue you must
apply to Count Hatzfeld of Mainz.

1 The signature is autograph.

2 The MS. of Act I of "La finta giardiniera", in the original Italian ver
sion, appears to have gone astray during Mozart's lifetime and has never been
discovered since. In the winter of 1779, when Bohm's troupe of players were
at Salzburg, Mozart seems to have authorised the preparation of a German
version of the text, which was finally written into the original score beneath
the Italian words. If we may suppose that this very score was lent to the
various travelling companies who wished to produce the authorised German
version, it is not difficult to account for the disappearance of the first Act. Of
Drexler (or Drechsler) nothing is known.

3 K. 344. See above, p. 1463, n. 8.

4 They are missing still from the autograph, but have been preserved
in various transcripts. For particulars, see Kochel, p. 674. Mozart often
wrote such parts on separate slips, which easily became detached from the
main work. Cp. also p. 1480, n. 2.

5 Presumably the PF. arrangement of the fantasia for mechanical] organ
(K. 608), which is referred to again in Letter X (see p. 1499, n. i). Leitl
(or Laitl) was a flute-player, who took part in the first performance of "Don
Giovanni" in Prague and was an enthusiastic collector of Mozart's works.

6 K. 490, a scena and rondo for soprano, with violin obbligato, written
for an amateur performance of "Idomeneo" (Vienna, 1786). The Count Hatz
feld referred to by Constanze was presumably Hugo Franz, son of Count
August Hatzfeld for whom the violin part was written. In Andre's edition of
Mozart's thematic catalogue this composition is number 35, not 34.

1465

CONSTANZE MOZART TO J. A. ANDRfi

A serenade "Piu non si trovano"1 I shall send you at the
earliest opportunity.

Abbe Stadler may be able to get you the rest of the
rondo of the piano concerto no. 26, as a result of his
correspondence with Fraulein Ployen [Ployer].2

Abbe Gelinek,3 who is with Prince Kinsky here, should
have one or two piano pieces that are still quite unknown,
e.g. two fantasias and a concerto in C, which he got from
the late Frau Trattner.

I am told that Leitl has four concertos in C, and one
in A.4

The original manuscript of the piano concerto no.
475 is probably in the possession of the bookseller Herri
in Prague.

I am told that the fragment of a sonata for four hands,6
which formed, I believe, the last number in Herr Andre's
list, is of no use, as the whole sonata is to be published by
Hoffmeister. Another of my informants, however, has
denied this.

Traeg7 has the manuscript of the bass aria no. 132 "Per
questa bella mano",8 and also of a divertimento.

1 K. 549, a trio for two sopranos and bass, with accompaniment for three
basset-horns. Cf. p. 1479, n. 4.

2 On Babette Ployer see p. 1294, n. 4. The concerto referred to is K. 449.
The autograph, now in the Prussian State Library, still lacks two leaves of the
rondo, which are supplied in copy.

3 Josef Gelinek (1758-1825), a prolific composer of drawing-room music,
owed his appointment as music-master in Prince Kinsky's household to
MozartTs influence. Therese von Trattner was one of Mozart's favourite pupils
and it was to her that he dedicated the fantasia and sonata in C min. (K. 475,
457). He is not known to have written any other fantasia or a concerto for her.

4 On Leitl see p. 1465, n. 5. It is probable that he possessed copies only of
the four concertos in C (K. 246, 415, 467, 503) and of one of the two concertos
in A (presumably K. 488).

5 [? K. 503.] Herri was the publisher of Niemetschek's life of Mozart
(Prague, 1798).

6 K.' 357. Notpublished till 1853, when Andre's son Johann August, brought
out an edition in which the missing portions were supplied by his brother Julius.

7 Johann Traeg, a Viennese music-dealer who specialised in manuscript
copies. 8 K. 612.

1466

CONSTANZE MOZART TO J. A. ANDRg

Note 2. The sample or specimen1 (see my letter).

A German cantata "Dir, Seele des Weltalls, o Sonne",
for two tenors and a bass. The first chorus in Eb is quite
complete. It starts with a splendid unison passage, marked
throughout by a melody that is noble and at the same
time simple and appealing. At the words "Von dir kommt
Fruchtbarkeit, Warme, Licht" the word "Licht" is
stressed by means of a sudden forte on the chord of the
seventh, which would undoubtedly produce a powerful
effect on the hearer, at least if the accompaniment for
flutes, oboe, clarinets, bassoons, etc. were added in accord
ance with the note in the score. After the chorus comes a
tenor solo in Bb, full of the tenderest melody and with a
fine accompaniment for the double bass. Here too, how
ever, the parts for the other instruments are wanting. Last
comes a second tenor solo in F, of which, however, only
17 bars are finished.

VIENNA, March i2th, 1800
MY DEAR HERR ANDRE,

I have just received your letter this very moment and
hasten to answer it at once. I am sorry to find in it an ugly
passage in which you threaten not to pay me until you
have received my "reply".2 That would be downright
dishonesty, and you would be committing a grave in
justice, as you will realise — if, that is, you are capable of
such a thing. But I cannot believe that you are. No, it is

1 Of the method of describing the fragments. This description occurs
word for word in the Abb6 Stadler's catalogue of the Mozart fragments
printed by Nissen (App. pp. 18, 19). It is thus safe to regard him as the
"musical adviser" to whom Constanze so often refers.

2 To a statement by Breitkopf and Hartel published in the AMZ for
March 5th, 1800 (Int. Blatt IX), in which they sought to minimise the
importance of Andre's purchase.

1467

CONSTANZE MOZART TO J. A. ANDRfi

merely an excuse to gain more time, to save more "per
cents".

As you see, I am very candid. But you will also see
from the enclosed statement1 how I deal with people who
threaten me with injustice, and whom I can force to act
honestly — by the aid of "justice". I have need of my
money. I have counted upon it, and God knows that I
shall lose once more through this, your third postpone
ment, as I am so precise in my calculations. Don't keep
me waiting.

Your request is perfectly just and reasonable. I myself
was much annoyed when I read the advertisement,2 and I
have been able to make use of all your remarks with the
exception of that which refers to the plates of the con
certo.3 These Breitkopf actually did purchase from me
early in 1799. If I didn't mention the fact to you it was
because it didn't occur to me. But why didn't you ask
about them? You were well aware that there had been
plates, and that they can't disappear. However, this is a
mere trifle and only of secondary importance. I sold you
the copies, as you know, simply as copies; and sold them
to you as a dealer in music not as a music- engraver —
quite apart from and prior to our main transaction.

I am happy in the conviction that you will find my
statement eminently satisfactory as it stands, but readily
admit that I have only made it from a sense of duty. I
should, of course, have preferred to dispense with this
publicity — not to mention the considerable damage done
to my reputation with the other party.

1 Not preserved.

* See p. 1467, n. 2. Constanze's reply to this "advertisement" was pub
lished in the Frankfurter Staats-Ristretto for April 4th, 1 800.

3 The piano concerto in C (K. 503), which Constanze had published in
1798 at her own expense. The engraving was carried out by Breitkopf and
Hartel to whom Constanze subsequently sold the plates. Andre ultimately
purchased from her the whole of the copies that remained unsold.

1468

CONSTANZE MOZART TO J. A. ANDRfi

I have nothing more to tell you, and so conclude, in
order that the answer to your letter, which reached me an
hour ago, may not be delayed a single moment through
any fault of mine.

I could wish most sincerely that you should make no
statement at all. I also hope that this statement of mine,
which you may now make known wherever you can, will
satisfy you. It is so unpleasant to be always quarrelling
and squabbling, and, in my opinion, my statement knocks
the bottom out of the whole business. And don't you agree
that it is more to your credit if I am the only one to say
anything?

C. MOZART

III

[Extract}

VIENNA, March 29^, 1800

Further useful notes for Herr Andre

I see from a statement in no. 18 of the "Musicalische
Zeitung" for 1800, under the heading "Anecdotes'1 on
page 316, that in some previous number the authenticity
of a violin concerto ascribed to Mozart has been ques
tioned.1 I don't know which one is referred to and so can

1 This is the Concerto in E^ (K. 268), the authenticity of which has so often
been debated. As Constanze herself mentions later in the course of this letter,
it was first published (in 1799, as Op. 76) by Andre himself, or, at any rate, by
his father, who was head of the firm till his death in June 1799. It was re*
viewed in the AMZ for October 1799 and curtly dismissed as an incom
petent piece of work, which could not possibly be by Mozart. In January
1800 there appeared an answer to this review, in the course of a communica
tion from F. A. Ernst (1745-1805), Konzertmeister to the King of Saxony.
It is this to which Constanze here refers. On the strength of Ernst's testimony,
which is far from unambiguous but clearly associates the work with Munich
and with the Munich violinist Johann Friedrich Eck, the present writer has
argued that in the form in which it now survives it represents Eck's working
over of Mozartian material, and has suggested 1780-1781 as the date of its
composition. See Music and Letters, April 1931, and cp. Kochel, pp. 435,
436.

1469

CONSTANZE MOZART TO J. A. ANDRfi

give no opinion on the matter. It may be a work of
Mozart's, even though it is not in Herr Andre's posses
sion. But if it is some fifteen years old, as is stated on
page 3 1 6, it is bound to be mentioned in Mozart's thematic
catalogue, which starts early in I784.1 From this its date
and age, at any rate, can be fixed exactly — for I may
remark here, what will hold good of all other such cases,
that the catalogue in question was from its very beginning
drawn up by Mozart in such detail that even trifles that
he composed while travelling, like the little Gigue which he
wrote, I think, in Leipzig in 1789 2 are carefully recorded.

I am curious to know what are the "unknown quartets"
which Herr Breitkopf announces in his February adver
tisement. The "catalogue" will at least enable Herr Andre
to tell whether they were written after 1784. They may, of
course, be still older and yet genuine. But it is improbable,
though quite possible, that there are quartets written by
Mozart before 1784, which have never seen the light and
yet deserve to do so. If they don't deserve it, Herr Breit
kopf ought not, of course, to publish them.

I now see from an earlier number of the "Musicalische
Zeitung" that the violin concerto of which mention was
made at the beginning of these notes, has been published
by Herr Andre himself. It is therefore to his own advan
tage to make sure that it is among the original manu
scripts.

In the 6th volume of the Breitkopf edition 3 there are no
less than two whole pieces which have been sold to the
public as Mozart's work, but which are undoubtedly noth
ing of the kind. The theme with variations, no. 9, on p. 59,4

1 Mozart's catalogue is not, however, complete. See O, E. Deutsch,
Mozarts Werkverzeichnist Vienna, 1938, pp. 10-12.

2 K. 574-

3 Of the "(Euvres complettes de W. A. Mozart". Cahier 6 consisted of "14
differentes pieces pour le pianoforte".

4 K. App. 289. Emanuel Aloys Forster (1748-1823).

1470

CONSTANZE MOZART TO J. A. ANDRfi

is by Herr Forster, who, I know for certain, has himself
written to Breitkopf and Hartel complaining of its inclu
sion; and another theme with variations, no. u, on p. 74,*
is by Herr Eberl, who told me so himself and at the same
time advertised the fact in the supplement to no. 118 of
the "Hamburger Correspondent" of the 2 5th of July, 1798,
in which he informed the public that various pieces had
been published as Mozart's work which were really his,
and mentioned particularly the variations for piano on the
theme " Freundin sanfter Herzenstriebe " from Ditters-
dorf s "Gutsherr".2 It is, of course, unfortunate that Herr
Andre himself has already published these variations (if
nothing else) as by Mozart, and it is true that Breitkopf
and Hartel can always make shift to excuse themselves
by urging that both these works had been accepted as
Mozart's. Nevertheless, when preparing their edition-de
luxe they should have obtained definite' information and
have made themselves acquainted with the advertise
ment I have just mentioned, the more so as one at least
of these two pieces is marked by faults of composition and
is, in general, unworthy of Mozart. Apart from this it is
most revolting to hear these gentlemen talking of the great
expense they have not shrunk from incurring to honour
Mozart in his grave, when one remembers that most of the
pieces they have published so far have not been copied
from the original manuscript, but are only reprints which
haven't cost them a penny, whilst the few works they
have so copied have cost the merest trifle. Moreover, they
did not even trouble to enquire into their authenticity.

1 K. App. 287. Anton Eberl (1766-1807), a friend and pupil of Mozart's.
His Op. i, a piano sonata in C min., was also published under Mozart's
name (see K. App. 284a).

2 K. App. 287.

1471

CONSTANZE MOZART TO J. A. ANDRlS

IV
[Extract}

VIENNA, May 31^, 1800
DEAR HERR ANDRE,

You must forgive me for saying so, but you have
gained and I have lost over your remittance. You paid
me in bank-notes which are cheap in Germany, but I have
had to buy bonds from the bank here at a dearer rate than
I should have had to pay if I had been able to purchase
them at the exact time fixed for your settlement. This is
the plain truth. N[issen] is content to acquiesce in the
injustice merely to avoid a squabble.

I have at length read Breitkopf s reply.1 Thanks for
telling me about it. I am glad that you think it solely my
business to answer it. After mature consideration, how
ever, I have decided to say nothing; otherwise there would
be no end to the squabble. Breitkopf is quite right when
he says towards the end of his announcement that the
future, that is, a comparison of the two editions, will show
where the truth lies. Quite so — but the advantage will be
with you. Apart from this, in the case of anything pub
lished by you, he will be at the obvious disadvantage of
having to issue mere reprints; for, as he will be unable to
copy the original manuscript, he will be forced to do the
next best thing — copy from the edition which has been
made from it. But for heaven's sake see that your editions
are as correct as it is possible to make them!

The fragments in my possession do not belong to you.
All that I sold you was the fifteen parcels which you your
self sealed, although I promised to let you have anything
else that came into my hands. Accordingly I have already

1 To Constanze's statement (see p. 1468, n. 2). Published in the AMZ
for April 1800 (Int. Blatt XII).

1472

CONSTANZE MOZART TO J. A. ANDRfi

sent you a sixteenth parcel, and here is no. 17. If I can get
hold of anything more I shall be sincerely pleased. For my
part I have nothing more to sell you. But I am eager that
everything that my husband wrote should be published;
and that is the guarantee for my promise, if guaran
tee it needs. Now when you bought those fifteen parcels
from me, you saw also a number of fragments and sketches
which I told you I was not giving you. Indeed, far from
laying claim to them or expressing any desire to have
them, you simply exclaimed: "Many people would be glad
enough to have things like these. What a fraud could be
perpetrated with them! Why, they would set a man up in
fine themes for the rest of his life!" Well, I am carefully
preserving them, and if my son does not make use of them
some day,1 sooner or later someone certainly will — per
haps somebody may care to publish them as a collection,
just as they are, simply for their interest as relics. If that
happened, no one would ever be able to flaunt himself in
borrowed plumes, and Mozart would get the credit that is
his alone. What I have just said naturally holds good of all
fragments which I have not made over to you. The four
which I pointed out to you as having been completed —
you have sufficient particulars to know which ones I mean
— also belong to me. It is a pure chance, which has in no
way altered their character, that a friend of mine,2 actuated
by no desire for personal gain but simply by a love for

1 These fragments passed into the possession of Karl Mozart on his mother's
death and were bequeathed by him to the Mozarteum at Salzburg, where they
are still preserved. The themes of most of them are quoted in the new
Kochel.

2 The Abbe Stadler. He is known to have completed: 2 Kyries (K. 322,
323), the Allegro for PF. and violin in B^ (K. 372), the PF. Fantasia in C min.
(K. 396), the Allegro for PF. in & (K. 400), the Fugue for PF. in G min.
(K. 401), the sonatas in A and C for PF. and violin (K. 402, 403), the
PF. Trio in D min. (really three unrelated fragments, K 442), and the
Fugue in G (K. 443). What particular works Constanze refers to, here
and elsewhere, as "the four completed fragments" it is not possible to
determine.

VOL. Ill 1473 2 E

CONSTANZE MOZART TO J. A. ANDRfi

Mozart and his art and by a kind desire to help me to get
some slight additional profit from them, completed them
for me. I am not under a shadow of obligation to give them
to you. If I were, you would have a claim on all fragments
whatsoever. However, if you fail to appreciate my zealous
attention to your interests, it is not my fault. I should have
expected you to make me a favourable offer. That you
are as well equipped as any man for the task of complet
ing the pieces in question I am quite convinced. But I
could not recompense my friend so poorly for his work as
to allow him to have laboured in vain. — After writing
this, I am willing to modify my terms as follows: — I will
give you the four fragments, if you will undertake to pub
lish them with my friend's additions and with an indica
tion of how much is Mozart's own work, and to give me
by way of payment either twenty-five copies of your
edition, or the equivalent of twenty-five copies in cash. I
am even willing to let you have them for four copies, if
you will make me a present of the piano scores of
"Figaro", "Die Zauberflote", "Cosi fan tutte", and
"Die Entfuhrung", which have already been published,1
and will send them to me at your own expense. I should
have said above that you need not adhere to my friend's
work in every particular.2

How can you imagine that N[issen] can undertake the
task of searching for the missing portions and procuring
them for you? Do you think he has nothing else to do? As
it is, he is constantly on the alert for any good thing that
may come along. Whenever he finds anything he will

1 Not by Andre. Constanze is probably referring to the piano scores
published by Simrock of Bonn ("Die Zauberflote", 1793 J "Figaro", 1796;
"Die Entfiihrung" and "Cosi fan tutte", in 1799). The first of these was
arranged by Fr. Eunicke, the remainder by Beethoven's teacher, Christian
Gottlob Neefe.

a In a marginal note Constanze has added: "If you do not accept
either of these proposals, I will sell the fragments or publish them myself".

H74

CONSTANZE MOZART TO J. A. ANDRfi

always let you know of it. Wranizky1 is hard to get hold
of, and he is under no obligation to me. It is surely up to
you to make use of your friendship with him. You cannot
possibly expect me to act as a sort of agent for you. If
Wranizky can do nothing you must pay somebody to give
you his time and labour.

If there are to be many letters passing between us as
bulky as yours of the 2nd of May, it would be really unfair
that I should have to bear the cost of their postage. Our
correspondence is solely to your advantage. Why, you
might just as well expect me to pay the carriage on the
music I send you! The spirit of our agreement is that
throughout I should be spared all expense. I made Breit-
kopf pay for the whole of my correspondence with him.
Now for a friendly word of advice. Don't be in too great a
hurry to make accusations against Breitkopf — at least in
public. You say in your last letter: "So Breitkopf is trying
to make out that he too possesses original manuscripts of
the concertos in A maj., Eb, and C min.!"2 But in his
latest statement he doesn't claim to possess the originals.
It is true that in his February announcement he said that
after the concerto which I had sent him (and the one
which I got him to publish for me) he would bring out two
further concertos, "also from the original manuscripts".
Now it is quite likely that he does possess copies of the
works in question. How good his copies are time will show.
Meanwhile you have always one great advantage over
him: you will be able to exercise control over his publica
tions; a control that will extend to all his copies, and to
those works published "from the original manuscript", of
which you yourself possess the autographs.

1 Paul Wranizky (1756-1808), from 1785 till his death Kapellmeister to
the Court Opera at Vienna.

3 K. 488, 482 and 491, which were published by Breitkopf and Hartel
in 1800, 1 80 1 and 1802 respectively.

1475

CONSTANZE MOZART TO J. A. ANDRfi

Your letter of the 2nd of May has meant much labour
for me — twice as much as there need have been. I can see
that you have not so much as looked at my notes, in which
many of your questions are answered. However, I will go
through the points once more so far as my memory serves
me: for the rest, I must refer you to my notes. What
follows is all that I can tell you and the only information
that I have. I will, of course, honourably keep my promise
to let you have anything else that I may happen to run
across, and to let you know if I hear of anything that
is to be found elsewhere. I have already given myself
trouble enough to no purpose, and asked for information
in several journals and in private letters. By the way, if
you send any copies of music from your edition to Traeg
or anyone else for forwarding to me, please give him
orders to get them sent to me at once, so that I need not
have to wait for them.

The carriage on the music which I am posting to you
to-day is 40 kreutzers. Please let me have this sum with
your payment for the music from Berlin.

I send you my best regards, and remain,
most sincerely,

your devoted servant

C. MOZART

You send me a list at the head of which you say: "Of
the following works which are all mentioned in Mozart's
own catalogue, I possess neither score nor parts, and
therefore ask for further details as to where I may be
able to get them". Let me deal with this first.

2. Piano quintet.1 The original MS. of this, with an
alternative version of the finale, is in the possession of

1 The Quintet in Eb for PF. and wind (K. 452). The "alternative version"
of the finale, really a rough sketch, is now preserved, with similar sketches for
the other movements, in the library of the Paris Conservatoire. Nicolaus von
Zmeskall is now best remembered as Beethoven's friend and correspondent.

1476

CONSTANZE MOZART TO J. A. ANDRfi

Herr von Zmeskall, Court Secretary in the Hungarian
Chancellor's Office here.

3. Piano concerto.1 The MS. is in the possession of the
Abbe von Stadler here.

8. Rondo for piano solo.2 This is part of

1 8. Allegro and Andante. The whole sonata has been
published by Artaria.

9. This3 is not in Leutgeb's possession, as I have asked
him about it.

10. Twelve variations for piano solo.4 These are
probably in the possession of Herr Hoffmeister. At any
rate they were written for him or for his "albums".

11. A manuscript symphony5 by Mozart — whether it
is this actual one I don't know — is said to be in the posses
sion of Herr Stoll, choir-master at Baden, not far from
Vienna. The Grand Duke of Tuscany,6 before whom
Wranizky often plays, is said to possess two symphonies
by Mozart that are quite unknown.

14. I have now sent you a few fragments of the quintet.7
17. Scena written for Madame Duschek in Prague.8 I
must refer you to the lady herself.

1 Of the six piano concertos entered in Mozart's catalogue after the Wind
quintet and before the Piano rondo, one only, that in D min. (K. 466), was
not in Andre's possession when he published his catalogue of his Mozart MSS.
in 1841. Possibly this is the concerto referred to here.

2 The Rondo (K. 494) was composed in 1786, the Allegro and Andante
(K. 533) two years later. In or about 1790 Mozart himself sanctioned their
publication together as a sonata. The publisher was, however, Hofrmeister,
not Artaria.

3 The horn concerto in E^ (K. 495)- OQ Leutgeb see p. 1068, n. 4-

+ K. 500, published by Hoffmeister about 1786. The autograph has never
come to light.

* Andre's enquiry evidently related to the "Prague" symphony (K. 504).
On Stoll, for whom Mozart wrote the "Ave, verum", see p. 1413, *. 2.

6 Ferdinand III (1769-1824) was Grand Duke of Tuscany at this time. He
was renowned for his patronage of the arts, but is not known to have come
into personal contact with Mozart.

' The quintet in G min. (K. 516). See p. 1464* n. 3.

8 "Bella mia fiamma" (K. 528). On Josephine Duschek see p. 408,
n. 2.

1477

CONSTANZE MOZART TO J. A, ANDRfi

22. Duet for Madame Mombelli and Signer Benucci.1
Here again I must refer you to these two singers. Signor
Benucci is in Tuscany.

25. This symphony2 was composed in Prague, and you
should make enquiries there.

31, 32. The majority of these canons,3 at any rate, are
in Breitkopf s hands.

33. A manuscript divertimento4 — whether it is this
actual one, I don't know — is in Traeg's possession.5
Some of the dance music you mention is in the posses
sion of Herr von Lipawsky here.6

44. Madame Hofer asserts that she never had this aria.7

45. A quintet — whether it is this actual one,8 I don't
know — is in the possession of Herr von Puchberg, a mer-

1 K. 54013. A duet for Zerlina (Signora Mombelli) and Leporello (Signor
Benucci), which took the place of Don Ottavio's aria "II mio tesoro" in the
Vienna performance of "Don Giovanni" in 1788. The autograph is still
missing.

2 Possibly the E^ symphony (K. 543), although this was actually written in
Vienna. Constanze may have been misled by the fact that a PF. arrangement
of the work was published in Prague in 1794. Mozart is not known to have
written any symphony during his visits to Prague. The so-called "Prague"
symphony (K. 504) derives its name from the fact that it was performed by
Mozart at a concert in Prague in January 1787. Andre had, however, already
enquired about this symphony in his question no. n.

3 K. 553-562. ^

4 Andre's enquiry was about the great Eb trio or divertimento (K. 563), the
autograph of which, now lost, was at one time in the possession of E. W. Pole
in London.

5 Later Constanze has added a note : "No, this is not the divertimento
that Traeg has."

6 Josef Lipawsky (c. 1772-^:. 1810), pianist and composer, was a friend
and pupil of Mozart's.

7 "Schon lacht der holde Friihling" (K. 580), composed for Mme Hofer,
Mozart's sister-in-law and the original Queen of the Night in the
"Zauberflote", to sing in a German adaptation of Paisiello's "Barbiere di
Siviglia". The autograph ultimately came into Andre's possession.

8 The clarinet quintet (K. 581). On Puchberg see p. 1360, n. 2. On Anton
Stadler, for whom this quintet and the clarinet concerto were written, and
who is not to be confused with the Abbe Maximilian Stadler, see p. 409, n. 2.
The unknown trios (p. 1479) are probably the five divertimenti for two
basset-horns and bassoon (K. App. 229 and 229a).

1478

CONSTANZE MOZART TO J. A. ANDRfi

chant here. For information about works of this kind you
should apply to the elder Stadler, the clarinettist, who
used to possess the original MSS. of several, and has
copies of some trios for basset-horns that are still un
known. Stadler declares that while he was in Germany
his portmanteau, with these pieces in it, was stolen.
Others, however, assure me that the said portmanteau
was pawned there for 73 ducats; but there were, I believe,
instruments and other things in it as well.

57. Piece for an organ in a clock.1 This should be in
the possession of Count von Deym, the present Royal
Chamberlain, and owner of what he used to call "Miiller's
Art Gallery".

59. The MS. of this air for bass voice2 with double
bass obbligato, is in Traeg's possession.

63. Short masonic cantata.3 Possibly Hoffmeister has
this. At any rate he printed it.

Parts for three basset-horns in score, consisting of five
numbers. The voice parts to these "notturni"4 are by

1 K. 608. Count Josef Deym (1750-1804), alias Miiller, was the proprietor
of a collection of wax- works, casts from the antique and miscellaneous attrac
tions, which from 1797 onwards was housed in a special building, and became
one of the ' 'sights" of Vienna. According to Nohl (Mozart nach den Schilde-
rungen seiner Zeitgenossen, p. 393), the Adagio and Allegro (K. 594) were
specially composed for performance at the first exhibition there of the effigy of
Field- Marshal Laudon. Mozart wrote at least one other composition for Deym,
the Andante (K. 616). Deym took a cast of Mozart's features as he lay on his
death-bed, and appears to have constructed a figure of the dead composer
dressed with his own clothes (see p. 1450, and Schurig, Constanze Mozart \ p. 26).

2 K. 612.

3 "Die ihr des unermesslichen Weltalls" (K. 619), first printed in 1792 as a
supplement to F. H. Ziegenhagen's Lehre vom richtigen Verhaltnis zu den
Schopfungsuuerken. There is no trace of an edition by Hoffmeister. The auto
graph, now in the Library of the University of Upsala, was acquired by a
Herr von Silfverstolpe during his residence in Vienna as Swedish plenipo
tentiary (1796—1802). If, as seems orobable, he got it from Constanze, she was
for once disingenuous in her dealings with Andre.

4 K. 346, 436-439. These trios for two sopranos and bass, with an accompani
ment for three basset-horns (or two clarinets and basset-horn), were composed
for Gottfried von Jacquin (see p. 1343, n. 3) and passed under his name. But in

1479

CONSTANZE MOZART TO J. A. ANDRfi

Jacquin, and are in Traeg's possession. They are, in fact,
common property. However, I don't think they have ever
been published.

For the mass1 that was afterwards used for "Davidde
penitente" you should make enquiries in Salzburg, where
it was composed, or at any rate performed. Mozart cer
tainly did not make use of the concluding section of this
mass in his " Requiem'1. When he was composing the
"mass", there was no question of the "Requiem", which
is a much later work.

No one knows anything of the theme from a Mozartian
piano concerto which has been communicated to you.

P.S. I called on Leutgeb once in person — he lives in
the furthest part of the suburbs — and have written to him
twice, but got no reply. I have therefore decided to send
you this letter and the parcel. There can hardly be any
doubt that he never had the piece.

Now for the section of pieces that require completing.
Of "Figaro" and "Die Entftihrung"2 I have never had
anything more, as I have already told you by word of
mouth. You may be able to get the other portions from
the theatre here, through Wranizky. The little that is

spite of Constanze's statement and of the appearance of Jacquin's name as
composer on a transcript of them now in the library of the Gesellschaft der
Musikfreunde in Vienna, there can be no doubt that they are wholly Mozart's
work. The accompaniments were written by him in a separate score.

1 The unfinished mass in C min. (K. 427). It was first performed, prob
ably supplemented by movements from earlier masses, at St. Peter's
Church in Salzburg on Aug. 25, 1783. On this occasion Constanze herself
sang the part for soprano solo. Cp. p. 1244, n. I.

2 In the autograph scoreof "Figaro", now in the Prussian State Library, the
recitative to Figaro's aria no. 26 is preserved in copy only. It was the original
of this, no doubt, that Andre was endeavouring to acquire. He was ultimately
successful, but unfortunately did not insert the autograph fragment in its
proper place in the score. It is now in the possession of a Berlin dealer. The
portions missing from "Die Entfuhrung" were a few parts for percussion and
wind, written on separate leaves. These too Andre finally recovered. On "Don
Giovanni" see p. 1465, n. 4.

1480

CONSTANZE MOZART TO J. A ANDRg

wanting in "Don Juan" I have been unable to discover,
but as it is such a trifle it is of no consequence. Traeg has
copies of the missing portions that he can let you have.
The "Schauspieldirektor" consists of an overture and five
numbers1 — see the piano score by Siegfried Schmidt,
which bears no date but was published by Breitkopf
several years ago. The majority of the remaining frag
ments probably never were completed. However —

As regards i. Sonata for four hands in G maj.2 The
theme of this sonata, as given by you, seems to have
been taken from the middle of the variations for four
hands which Hoffmeister engraved.

4. Piano rondo, with orchestral accompaniment.3 This
will be in the hands of Madame Bojanowich, formerly
Fraulein Ployer, who is living not far from Kreuz in
Croatia. Her father-in-law is Hungarian Ambassador
here. I have already caused enquiry to be made of her,
but to no effect.

5. Aria for tenor.4 I have already sent you the con
cluding section of this.

9. Breitkopf did not get this sonata from me. It must
once have been complete.

n. Aria for Madame Hofer.5 This, she says, never was
complete.

13. You go too far when you conclude that this con-

1 There are four numbers only. Schmidt's piano score was published in
1792.

2 K. 357. See p. 1463. K. 357, however, nowhere shows any thematic
resemblance to the variations (K. 501). Curiously enough the second
variation of K. 501 is thematically similar to that of the opening Andante of
an unfinished sonata for PF. and violin written for Constanze (K. 404).

3 Presumably K. 386, of which two leaves only now survive, but which was
originally complete except for the last leaf. This is the Rondo recently recon
structed by Dr. Alfred Einstein, with the help of the surviving fragments and
of a piano version made by Cipriani Potter at a time when the autograph,
then in this country, was still more or less intact.

4 Probably the tenor aria from the cantata "Dir, Seele des Weltalls"
(K. 429). See p. 1467. s K. 580. See p. 1478, n. 7.

1481

CONSTANZE MOZART TO J. A. ANDRfi

certo1 must be in my possession just because Traeg has a
copy of it, though that does prove that it must once have
existed. Leutgeb hasn't got it.

17. As you set so much store by this cadenza2 I have
tried to get you a copy of it. Gelinek, who collects things
of that sort, hasn't got it, nor has Stadler nor Kutschera,
the piano-tuner. The latter, however, has promised to
keep an eye open for it. I myself have no more cadenzas
— in fact I have nothing more.

6. 10. Rondo for horn, with a jocular superscription.3
Leutgeb has promised me a copy of this. I don't think
that any of these horn pieces have yet been published.

12. Rondo for horn and orchestra.4 Leutgeb knows
nothing of this, and concludes that no complete score
of it exists.

14. Draft of an introductory Allegro.5 Leutgeb is of
the same opinion here, as also in the case of

15. Draft of a horn concerto.6

Leutgeb has nothing more even in copy beyond a
quintet in D# (E^) for solo horn, violin, 2 violas, and
'cello,7 of which you probably possess the original. You
can probably get information about any music for wind-
instruments that you haven't got through Wranizky,
the elder and younger Stadler, or Herr Wendt here.8
Madame Eissen, Eizen, or something of the sort, who is
the widow of the late horn-player at the National Theatre

1 A horn concerto, possibly K. 417.

2 To one of the PF. concertos. On Gelinek see p. 1466, n. 3. Artaria's
edition of the cadenzas (see K. 624) was dedicated to him.

3 The rondo of the concerto in D (K. 412). Kochel quotes examples of
Mozart's jocular notes.

4 Possibly K. 371. 5 Possibly K. App. 98b. 6 Possibly K. App. 98a.
? K. 407-

8 On Wranitzky see p. 1475, n. I. On the elder Stadler see p. 409, n. 2.
His younger brother Johann (1756-1804) also played the clarinet and was
also a member of the orchestra of the National Theatre. Johann Wend
(1745-1801), oboist and composer, was attached to the Hofkapelle at
Vienna from 1787.

1482

CONSTANZE MOZART TO J. A. ANDRfi

here,1 is said to have one or two manuscript scores of horn
pieces. Wranizky is sure to know her. Mozart himself gave
several MSS. to her husband.

The catalogue of the whole of Mozart's works that you
have promised me, which is to include works not in your
possession as well as those that are, you cannot, of course,
let me have for the present. It will take a good deal of
time before a list of that sort can lay claim to complete
ness. The biographies of Mozart 2 may also supplement it.

[Extract]

VIENNA, September lotk, 1800
DEAR HERR ANDRE,

Thanks for your letter of the ist of September, which
gave me great pleasure. You are, however, in error on
one small point. You say that the Mozart fragments
should be your property if they are published, whoever
may have completed them. If that were so, even my own
son could not undertake to finish them. However, I still
feel strongly inclined to publish them, or get them pub
lished, just as they are, and so make them generally
available. Through my death or some other chance they
might easily fall into strange hands and be put to a wrong
use. Printing would be a sure safeguard against that. If
anyone then wished to venture on the task of completing
them, nobody could stop him.

The four completed fragments I have sent to-day under

1 Jakob Eisen (1756-1796).

2 The biographies of Mozart published at this date were: i. the article
inE. L. Gerber's Historisch-biograpMschesLexikon der Tonkunstler (1790);
2. the obituary notice in F. Schlichtegroll's Nekrolog auf das Jahr J7pr
(1793), reprinted separately at Graz in 1794; 3. a brief life in No. I of
Bossier' s Musikalische Korrespondenz^^\ and 4. F. Niemetschek's Leben
des K. K. Kapellmeisters Wolfgang Gottlieb Mozart (1798).

CONSTANZE MOZART TO J. A. ANDRfi

the usual seal Z1 to Fischer, Singer to the Imperial House
hold in Berlin,2 from whom your agent can get them on
production of a letter from you authorising him to receive
"a parcel in Herr Fischer's possession" (Fischer has no
idea what is in it), and on payment of the cost of postage.
I adopted this course because I wanted you to get them
without delay, as you desired, and at the same time to
run no risks.

From Breitkopf and H artel I have had nothing. They
have orders to send everything to you.3 The only pieces
that they should still have in their possession are: —
thirteen canons in the original MSS. (they have had
several more in copy), "Caro mio Druck und Schluck' V
one sonata and a fragment, a fugue, the last eight bars of
which are not by Mozart,5 an unfinished violin sonata,6
the "Ouverture" published in Heft 6 of their edition,7
two songs for opening and closing ceremonies at
Mozart's lodge,8 a fragment "V amo di core",9 which,
however, is my property if they make no use of it, and
also, I believe, the song "Die Trennung".10 The
"Ouverture" you may have received already. I will not,
of course, swear that the above list is absolutely accurate.

Well, good-bye! May you profit by your speculation!
N[issen] and I send you our best regards.

CONSTANZE MOZART

1 An attempt to reproduce Nissen's seal, which has been preserved on
many of these letters.

2 On Ludwig Fischer, the original Osmin in "Die Entfiihrung", see
p. 1123, n. 7.

3 In the margin Constanze has written: "Please let me know from time
to time what manuscripts you get back from Leipzig, so that I can keep
account of them, and strike the items off my list."

4 A jocular quartet for soprano, two tenors and bass, with PF. accompani
ment (K. App. 5). s K. 401. 6 Possibly K. 402.

7 The PF. Suite (K. 399), written in the Handelian style and consisting of
Ouverture, Allemande, Courante. A Sarabandewas to have followed, but six
bars only were completed, 8 K. 483 and 484.

9 This curious work (K. 348), more fully described in Letter VII, is a canon
for three choirs, each of four voices. I0 K. 519.

1484

CONST